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Explore the must-see events, exhibits, and performances in the Bay Area arts scene.","title":"Editors' Picks - Best from Arts Commentary | KQED","ogDescription":"","imageData":{"ogImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","width":1200,"height":630},"twImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"},"twitterCard":"summary_large_image"}},"slug":"artseditorspicks","status":"publish","format":"standard","path":"/root-site/15853/artseditorspicks","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The best of KQED’s arts commentary.\u003c/p>\n\n\n\n\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"label":"root-site","isLoading":false}},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13961042":{"type":"posts","id":"arts_13961042","meta":{"index":"posts_1716263798","site":"arts","id":"13961042","score":null,"sort":[1720741425000]},"guestAuthors":[],"slug":"the-migratory-melancholia-of-the-dependent-spouse","title":"The Migratory Melancholia of the ‘Dependent Spouse’","publishDate":1720741425,"format":"aside","headTitle":"The Migratory Melancholia of the ‘Dependent Spouse’ | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13961048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg\" alt=\"A young woman sits semi-reclined on a grey couch, looking downward, covered in white and maroon blankets.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her apartment, one year after moving to the South Bay from Mumbai. The adjustment process for immigrants can bring on ‘migratory melancholia,’ a specific cluster of emotions. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of all the personal labels I’ve subscribed to while recently working out the plurality of my identity, a tiny alphanumeric one has emerged as the most potent — H4.\u003c/p>\n\u003cp>This seemingly benign title is the name of my visa category in the United States. Around 18 months ago, I moved to the San Francisco Bay Area from India’s financial capital, Mumbai. To say I grew up there sounds a touch reductive; it’s where I lived, learned and loved for 37 years.\u003c/p>\n\u003cp>I moved for love. A whirlwind, cross-continental romance that began on Bumble during the pandemic ended in wedding vows that brought me to America in the winter of 2022. That’s when I became an “H4 wife,” a term used for newlywed spouses, typically brides, who come to the country on a “dependent visa,” which means their partner holds a more dignified employment-based visa called the H1.\u003c/p>\n\u003cp>I used to think “non-resident alien” was the weirdest official nomenclature in America, but “dependent spouse” is worse.\u003c/p>\n\u003cp>Lest anyone think this is a garden variety sob story, let me clarify that I live a privileged life. In fact, the first time I used the word “traumatized” to describe my psychological state after moving to Silicon Valley, my husband balked and reminded me that I was sitting on a $1,500 couch and drinking gourmet Colombian coffee. But the tears still rolled down my face.\u003c/p>\n\u003cfigure id=\"attachment_13961049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg\" alt=\"A young woman sips from a mug while sitting on a couch, with sunlight coming in from the right side.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her South Bay apartment. H4 visa holders are sometimes referred to as ‘dependent spouses,’ a distorted form of citizenship limbo. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The struggle to reorient — socially, professionally, practically — in a new country is real. The story of the asylum-seeking refugee who flees economic hardship, political anarchy or religious persecution in their home country is well documented, as it should be. New York-based author and journalism professor Suketu Mehta writes about immigration as reparation for colonialism in his fabulous book \u003cem>This Land Is My Land\u003c/em>, which passionately advocates for immigrants who fight the odds to come to the United States in search of a better life, and devote their waking hours to earning money for their struggling families back home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who writes of the trauma of the highly educated, upper-middle class legal immigrant who kisses family and friends goodbye, unplugs a career and moves of their own volition, only to realize that the real journey begins after the plane lands on the tarmac? Who documents the disillusionment of the financially stable, travel-savvy global citizen, who, passport in hand, marches across airports in a quest for the best life they can gift themselves? Who chronicles my — our — brand of immigration? \u003c/p>\n\u003cp>Let me try. What is commonly misinterpreted as homesickness or casually dismissed as the stress of a new relationship — or as Indians like to say, “adjustment issues” — is in fact a cluster of emotions including frustration, anxiousness, low self-esteem, confusion, self-doubt, loneliness, an identity crisis and a sense of pervasive sadness.\u003c/p>\n\u003cp>Collectively, this dull mood state is different in quality from depression or anxiety disorder, both far more debilitating conditions. Nonetheless, the sub-clinical disquietude of the contemporary settler is what I have come to call “migratory melancholia.”\u003c/p>\n\u003cp>The concept of emotion clusters has been explored indifferent contexts. British Psychologist Kevin Dutton, in his book \u003cem>The Wisdom Of Psychopaths\u003c/em>, writes about traits that comprise the psychopathic personality — fearlessness, ruthlessness, confidence, focus, charm, lack of conscience and calmness under pressure. \u003c/p>\n\u003cp>The same logic of clusters, with different emotions, can be applied to migratory melancholia. It could be years before this depressive subset finds room in mental health literature. But change can start sooner. I’d like people experiencing post-migration blues to recognize the signs and know that they are not alone.\u003c/p>\n\u003cfigure id=\"attachment_13961047\" class=\"wp-caption aligncenter\" style=\"max-width: 899px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg\" alt=\"\" width=\"899\" height=\"1255\" class=\"size-full wp-image-13961047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-800x1117.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-768x1072.jpg 768w\" sizes=\"(max-width: 899px) 100vw, 899px\">\u003cfigcaption class=\"wp-caption-text\">On the tarmac. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every immigrant feels their story is unique; that they are somehow different from the hundreds of thousands of others who risk leaving home for their version of the American dream, be it professional, educational, financial or, as in my case, romantic. And while their individual details may be unique, we’re still united in movement, and united in spirit. \u003c/p>\n\u003cp>On my way from Mumbai to San Francisco, there was a seven-hour layover in Dubai. While waiting, I swapped stories with some fellow passengers, one of them a Bangladeshi man from the town of Sylhet who has made New York his home. We had neither coast in common nor mother tongue, but were united in the American immigrant experience.\u003c/p>\n\u003cp>We each grumbled about the lengthy documentation involved in securing, then renewing, then stamping, and then re-renewing our respective visas, and the arduous path to officially belonging here. But that is just paperwork, he said, for America is “here” — pointing to his head with one hand and his heart with another.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.ashwinigangal.com/\">Ashwini Gangal\u003c/a> is a Mumbai-bred, California-based journalist, hopelessly in love with the written word. She is the author of two chapbooks, ‘\u003ca href=\"https://www.amazon.com/Hormonal-House-collection-stories-Mumbai/dp/B0CMN6TYBM\">Hormonal House\u003c/a>’ and ‘\u003ca href=\"https://bottlecap.press/products/yersinia\">Yersinia Pestis\u003c/a>.’ \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"An H4 visa holder in the South Bay reports from the emotional trenches of modern day immigration.","status":"publish","parent":0,"modified":1720744828,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":904},"headData":{"title":"The Migratory Melancholia of the ‘Dependent Spouse’ | KQED","description":"An H4 visa holder in the South Bay reports from the emotional trenches of modern day immigration.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Migratory Melancholia of the ‘Dependent Spouse’","datePublished":"2024-07-11T16:43:45-07:00","dateModified":"2024-07-11T17:40:28-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary ","sourceUrl":"https://www.kqed.org/artscommentary commentary","sticky":false,"nprByline":"Ashwini Gangal","nprStoryId":"kqed-13961042","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13961042/the-migratory-melancholia-of-the-dependent-spouse","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13961048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg\" alt=\"A young woman sits semi-reclined on a grey couch, looking downward, covered in white and maroon blankets.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her apartment, one year after moving to the South Bay from Mumbai. The adjustment process for immigrants can bring on ‘migratory melancholia,’ a specific cluster of emotions. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of all the personal labels I’ve subscribed to while recently working out the plurality of my identity, a tiny alphanumeric one has emerged as the most potent — H4.\u003c/p>\n\u003cp>This seemingly benign title is the name of my visa category in the United States. Around 18 months ago, I moved to the San Francisco Bay Area from India’s financial capital, Mumbai. To say I grew up there sounds a touch reductive; it’s where I lived, learned and loved for 37 years.\u003c/p>\n\u003cp>I moved for love. A whirlwind, cross-continental romance that began on Bumble during the pandemic ended in wedding vows that brought me to America in the winter of 2022. That’s when I became an “H4 wife,” a term used for newlywed spouses, typically brides, who come to the country on a “dependent visa,” which means their partner holds a more dignified employment-based visa called the H1.\u003c/p>\n\u003cp>I used to think “non-resident alien” was the weirdest official nomenclature in America, but “dependent spouse” is worse.\u003c/p>\n\u003cp>Lest anyone think this is a garden variety sob story, let me clarify that I live a privileged life. In fact, the first time I used the word “traumatized” to describe my psychological state after moving to Silicon Valley, my husband balked and reminded me that I was sitting on a $1,500 couch and drinking gourmet Colombian coffee. But the tears still rolled down my face.\u003c/p>\n\u003cfigure id=\"attachment_13961049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg\" alt=\"A young woman sips from a mug while sitting on a couch, with sunlight coming in from the right side.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her South Bay apartment. H4 visa holders are sometimes referred to as ‘dependent spouses,’ a distorted form of citizenship limbo. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The struggle to reorient — socially, professionally, practically — in a new country is real. The story of the asylum-seeking refugee who flees economic hardship, political anarchy or religious persecution in their home country is well documented, as it should be. New York-based author and journalism professor Suketu Mehta writes about immigration as reparation for colonialism in his fabulous book \u003cem>This Land Is My Land\u003c/em>, which passionately advocates for immigrants who fight the odds to come to the United States in search of a better life, and devote their waking hours to earning money for their struggling families back home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who writes of the trauma of the highly educated, upper-middle class legal immigrant who kisses family and friends goodbye, unplugs a career and moves of their own volition, only to realize that the real journey begins after the plane lands on the tarmac? Who documents the disillusionment of the financially stable, travel-savvy global citizen, who, passport in hand, marches across airports in a quest for the best life they can gift themselves? Who chronicles my — our — brand of immigration? \u003c/p>\n\u003cp>Let me try. What is commonly misinterpreted as homesickness or casually dismissed as the stress of a new relationship — or as Indians like to say, “adjustment issues” — is in fact a cluster of emotions including frustration, anxiousness, low self-esteem, confusion, self-doubt, loneliness, an identity crisis and a sense of pervasive sadness.\u003c/p>\n\u003cp>Collectively, this dull mood state is different in quality from depression or anxiety disorder, both far more debilitating conditions. Nonetheless, the sub-clinical disquietude of the contemporary settler is what I have come to call “migratory melancholia.”\u003c/p>\n\u003cp>The concept of emotion clusters has been explored indifferent contexts. British Psychologist Kevin Dutton, in his book \u003cem>The Wisdom Of Psychopaths\u003c/em>, writes about traits that comprise the psychopathic personality — fearlessness, ruthlessness, confidence, focus, charm, lack of conscience and calmness under pressure. \u003c/p>\n\u003cp>The same logic of clusters, with different emotions, can be applied to migratory melancholia. It could be years before this depressive subset finds room in mental health literature. But change can start sooner. I’d like people experiencing post-migration blues to recognize the signs and know that they are not alone.\u003c/p>\n\u003cfigure id=\"attachment_13961047\" class=\"wp-caption aligncenter\" style=\"max-width: 899px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg\" alt=\"\" width=\"899\" height=\"1255\" class=\"size-full wp-image-13961047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-800x1117.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-768x1072.jpg 768w\" sizes=\"(max-width: 899px) 100vw, 899px\">\u003cfigcaption class=\"wp-caption-text\">On the tarmac. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every immigrant feels their story is unique; that they are somehow different from the hundreds of thousands of others who risk leaving home for their version of the American dream, be it professional, educational, financial or, as in my case, romantic. And while their individual details may be unique, we’re still united in movement, and united in spirit. \u003c/p>\n\u003cp>On my way from Mumbai to San Francisco, there was a seven-hour layover in Dubai. While waiting, I swapped stories with some fellow passengers, one of them a Bangladeshi man from the town of Sylhet who has made New York his home. We had neither coast in common nor mother tongue, but were united in the American immigrant experience.\u003c/p>\n\u003cp>We each grumbled about the lengthy documentation involved in securing, then renewing, then stamping, and then re-renewing our respective visas, and the arduous path to officially belonging here. But that is just paperwork, he said, for America is “here” — pointing to his head with one hand and his heart with another.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.ashwinigangal.com/\">Ashwini Gangal\u003c/a> is a Mumbai-bred, California-based journalist, hopelessly in love with the written word. She is the author of two chapbooks, ‘\u003ca href=\"https://www.amazon.com/Hormonal-House-collection-stories-Mumbai/dp/B0CMN6TYBM\">Hormonal House\u003c/a>’ and ‘\u003ca href=\"https://bottlecap.press/products/yersinia\">Yersinia Pestis\u003c/a>.’ \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961042/the-migratory-melancholia-of-the-dependent-spouse","authors":["byline_arts_13961042"],"categories":["arts_1","arts_2303","arts_22183"],"tags":["arts_2767","arts_10342","arts_10278"],"featImg":"arts_13961052","label":"source_arts_13961042"},"arts_13960447":{"type":"posts","id":"arts_13960447","meta":{"index":"posts_1716263798","site":"arts","id":"13960447","score":null,"sort":[1720627982000]},"guestAuthors":[],"slug":"port-chicago-explosion-80-year-anniversary","title":"Remembering the Port Chicago Explosion, 80 Years Later","publishDate":1720627982,"format":"standard","headTitle":"Remembering the Port Chicago Explosion, 80 Years Later | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>[dropcap]O[/dropcap]n the anniversary of a horrifying explosion that killed 320 men — 202 of them African American — most people would expect a reverent service or somber memorial to mark the tragedy. Not big bands full of brass instruments playing 1940s jazz and swing music. Not people dancing, twisting and flapping in jubilee.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">But that’s exactly the sort of energy renowned bandleader and composer Marcus Shelby wants to evoke at \u003ca href=\"https://www.portchicagoweekend.org/\" target=\"_blank\" rel=\"noopener\">an event\u003c/a> marking the 80th anniversary of the Port Chicago Explosion, the deadliest incident on mainland American soil of World War II and one of the worst disasters in U.S. military history.\u003c/p>\n\u003cp>Utilizing entertainment in order to educate people on what happened at Port Chicago, just north of Concord, is imperative to \u003ca href=\"https://linktr.ee/eastbaybec\" target=\"_blank\" rel=\"noopener\">Yulie Padmore\u003c/a>. “Ultimately,” says Padmore, the director of the \u003ca href=\"https://www.portchicago50.com/\" target=\"_blank\" rel=\"noopener\">Port Chicago Alliance\u003c/a>, “this is a history I’m very passionate about.”\u003c/p>\n\u003cp>Padmore is quick to enumerate the often-overlooked significance of the disaster and its aftermath. The subsequent legal proceedings laid the groundwork for the civil rights movement. It directly led to the desegregation of the Navy, and later the military as a whole. It also influenced desegregation in the broader U.S. workforce, as well as the country’s education system.\u003c/p>\n\u003cfigure id=\"attachment_13960707\" class=\"wp-caption aligncenter\" style=\"max-width: 829px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg\" alt=\"The smiles of those pictured here are a reminder that the majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s.\" width=\"829\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg 829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-768x768.jpeg 768w\" sizes=\"(max-width: 829px) 100vw, 829px\">\u003cfigcaption class=\"wp-caption-text\">The majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s. \u003ccite>(Naval History and Heritage Command )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What we’re saying is,” says Padmore during a phone call, “this work happened \u003cem>right here\u003c/em> in The Bay.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Padmore and Shelby are just two of the many folks preparing for \u003ca href=\"https://www.portchicagoweekend.org/\">Port Chicago Weekend\u003c/a>, a three-day series of events spanning from July 18–July 21. Along with live music and dancing, the lineup includes a performance of \u003cem>\u003ca class=\"showMoreInfo\" href=\"https://www.tickets831.com/Event/port-chicago-50-the-play-289922\">Port Chicago 50\u003c/a>\u003c/em>, a play by David Shackelford and Dennis Rowe.\u003c/p>\n\u003cp>Attendees will also get to hear firsthand from relatives of those who died in the tragic events of July 17, 1944 — exactly 80 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13960705\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960705\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg\" alt=\"A group of African American sailors marching at Port Chicago.\" width=\"960\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-768x560.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A group of African American sailors marching at Port Chicago. \u003ccite>(National Park Service Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap]n 1944, the United States was in the thick of World War II, and all throughout the Bay Area, workers played a huge role in the war effort. Women entered the workforce in droves, a shift often symbolized through the fictional character of \u003ca href=\"https://www.nps.gov/places/rosie-the-riveter-in-richmond-audio-program.htm\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter\u003c/a>, and immortalized in a namesake park and museum in Richmond. Around that same time, UC Berkeley scientists worked on \u003ca href=\"https://www.osti.gov/opennet/manhattan-project-history/Places/Other/berkeley.html\" target=\"_blank\" rel=\"noopener\">The Manhattan Project\u003c/a>, which brought about the atom bomb. Thousands more labored in mills in Marin County, factories in Oakland and on ships in Hunters Point, all in support of the war effort.\u003c/p>\n\u003cp>In July, at a naval base on Suisun Bay, hundreds of men worked tirelessly to load munitions onto a 440-foot-long cargo ship, the S.S. \u003cem>E.A. Bryan\u003c/em>. Reports show that between big cluster bombs, small ammunitions, naval mines and other explosives, \u003ca href=\"https://www.history.navy.mil/research/library/online-reading-room/title-list-alphabetically/p/port-chicago-ca-explosion/online-documents/court-of-inquiry/factual-detail-prior-to-explosion.html\" target=\"_blank\" rel=\"noopener\">over 4,600 pounds of weaponry\u003c/a> was loaded onto the vessel at the time of the incident. The cargo ship itself, loaded with over 5,000 barrels of bunker oil, was highly flammable. Approximately 430 tons of ammunition and bombs sat in railroad cars not far from where the ship was moored. Another ship, the S.S. \u003cem>Quinault Victory\u003c/em>, was directly adjacent.\u003c/p>\n\u003cfigure id=\"attachment_13960721\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960721\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg\" alt=\"Navy servicemen working on the pier during WWII.\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05-160x240.jpg 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen working on the pier during WWII. \u003ccite>(National Park Service, Port Chicago Naval Magazine National Memorial )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after 10 p.m. on the night of July 17, witnesses heard the sound of metal falling before a booming explosion sent a fireball measuring three miles in diameter into the sky. Shrapnel was launched 1,200 feet into the air. The explosion was reportedly heard as far away as Nevada. It \u003ca href=\"http://www.asjournal.org/59-2015/commemorating-port-chicago-naval-magazine-disaster-1944/\" target=\"_blank\" rel=\"noopener\">measured 3.4 on the Richter scale\u003c/a> in Berkeley, 20 miles away.\u003c/p>\n\u003cp>Of those men working on the ship, 320 were killed instantly, vaporized by the blast. Hundreds more were injured. Those who perished in the explosion accounted for 15% of African American servicemen who died during WWII.\u003c/p>\n\u003cp>The exact cause of the explosion was never identified. But during a trial, it became clear that \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/august/port-chicago-revisited\" target=\"_blank\" rel=\"noopener\">the Navy hadn’t followed protocol\u003c/a> in training the largely African American workers how to properly load munitions. What’s more, three weeks later the remaining workers were sent to Mare Island in Vallejo to continue loading munitions for the Navy.\u003c/p>\n\u003cp>Seeing that no new safety measures had been taken, workers protested. \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/people.htm\" target=\"_blank\" rel=\"noopener\">Over 250 men initially refused\u003c/a> the unsafe labor conditions. But soon, the majority returned to work, leaving 50 men — known as the Port Chicago 50 — to protest.\u003c/p>\n\u003cfigure id=\"attachment_13960706\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg\" alt=\"African Americans accounted for 5.5% of the Navy during WWII--over 187,000 sailors-- but only 64 were commissioned as officers.\" width=\"1920\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1020x744.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1536x1120.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">African Americans accounted for 5.5% of the Navy during WWII — over 187,000 sailors — but only 64 were commissioned as officers. \u003ccite>(National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charged with disobedience and mutiny during wartime, the men were supported by Thurgood Marshall, who wasn’t their lawyer but attended the hearings and publicized their case. This was years before Marshall worked on the landmark case \u003cem>Brown v. Board of Education\u003c/em> or became the first African American Supreme Court justice, but as lead counsel with the NAACP Legal Defense Fund, Marshall’s name still held weight.\u003c/p>\n\u003cp>In support of the Port Chicago 50, \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/the-mutiny-trial.htm\" target=\"_blank\" rel=\"noopener\">Marshall said\u003c/a>, “This is not 50 men on trial for mutiny. This is the Navy on trial for its whole vicious policy toward Negroes. Negroes in the Navy don’t mind loading ammunition. They just want to know why they are the only ones doing the loading.”\u003c/p>\n\u003cp>In the end, the 50 men were imprisoned, with sentences ranging from eight to 15 years at Terminal Island Disciplinary Barracks in San Pedro. The higher ranking officers, all of them white, walked away scot-free. On Capitol Hill, the Navy requested compensation for each of the victim’s families in the amount of $5,000; after protests from the staunchly racist Mississippi Congressman John Rankin, that figure was reduced to $3,000.\u003c/p>\n\u003cfigure id=\"attachment_13960727\" class=\"wp-caption aligncenter\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960727\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg\" alt=\"Navy serviceman and Port Chicago 50 member, Joseph Small.\" width=\"320\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small-160x395.jpeg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Navy serviceman and Port Chicago 50 member Joseph Small. \u003ccite>(Robert L. Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]y January 1946, the war was over and the Port Chicago 50 were released from prison. That same year, \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/february/segregation-navy#:~:text=On%20paper%2C%20the%20history%20of,convictions%20of%2050%20black%20sailors.\" target=\"_blank\" rel=\"noopener\">the Navy ended all formal segregation\u003c/a>. Two years later, on July 26, 1948, \u003ca href=\"https://www.archives.gov/milestone-documents/executive-order-9981\" target=\"_blank\" rel=\"noopener\">President Harry Truman formally desegregated the military\u003c/a> and established the President’s Committee on Equality of Treatment and Opportunity in the Armed Services.\u003c/p>\n\u003cp>In 1999, President\u003ca href=\"https://www.nytimes.com/1999/12/24/us/sailor-from-mutiny-in-44-wins-a-presidential-pardon.html\" target=\"_blank\" rel=\"noopener\"> Bill Clinton officially pardoned Port Chicago 50 member Freddie Meeks\u003c/a>. But a number of other men refused to accept the pardon, as it would inherently acknowledge some form of guilt.\u003c/p>\n\u003cp>“\u003ca href=\"https://portchicago50.com/exoneration.html\" target=\"_blank\" rel=\"noopener\">My goal is to the see the men exonerated this year\u003c/a>,” says Yulie Padmore. Working with the likes of \u003ca href=\"https://portchicagomemorial.org/about/\" target=\"_blank\" rel=\"noopener\">Friends of Port Chicago National Memorial\u003c/a> President \u003ca href=\"https://www.nps.gov/articles/000/diana-mcdaniel.htm\" target=\"_blank\" rel=\"noopener\">Rev. Diana McDaniel\u003c/a>, Padmore is also actively ensuring that the story of the Port Chicago disaster and the Port Chicago 50 is accessible to all.\u003c/p>\n\u003cp>In 1994, the \u003ca href=\"https://www.nps.gov/poch/planyourvisit/things2do.htm\" target=\"_blank\" rel=\"noopener\">Port Chicago Naval Magazine National Memorial\u003c/a> was dedicated to those who died in the explosion. Fifteen years later, \u003ca href=\"https://portchicagomemorial.org/2009/10/29/president-obama-signs-bill-designating-port-chicago-memorial-as-unit-of-the-national-parks-service/\" target=\"_blank\" rel=\"noopener\">President Barack Obama\u003c/a> signed a bill establishing that same site as a unit of the National Park Service. The problem is that the public doesn’t readily have access to that land, as it’s on an active naval base.\u003c/p>\n\u003cp>But there’s a new park in the works: \u003ca href=\"https://www.ebparks.org/parks/thurgood-marshall\" target=\"_blank\" rel=\"noopener\">Thurgood Marshall Regional Park — Home of the Port Chicago 50\u003c/a>. “We’re going to have a visitors center here in the Bay Area,” says Padmore of the forthcoming space in the Los Medanos Hills, a 2,500-acre site between the cities of Concord and Pittsburg. And although \u003ca href=\"https://www.ebparks.org/projects/thurgood-marshall-regional-park-land-use-plan\" target=\"_blank\" rel=\"noopener\">the center is 40 years out\u003c/a>, just the name of the site is a significant step. “It’s the first regional park named after people who’ve been formerly incarcerated,” says Padmore, noting that the community pushed to add “Home of the Port Chicago 50” to the title.\u003c/p>\n\u003cfigure id=\"attachment_13960728\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960728\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg\" alt=\"Navy servicemen honored at Port Chicago.\" width=\"960\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-800x629.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-160x126.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-768x604.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen honored at Port Chicago. \u003ccite>(U.S. Navy via National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s much greater than we can imagine at this point,” Padmore tells me. “Folks from California, we go to Washington, D.C., and we learn about our history … but where do we have a significant history of this magnitude for African Americans in the state of California?”\u003c/p>\n\u003cp>Although the center’s opening is well into the future, and the story of the disaster at Port Chicago happened 80 years in the past, this piece of history is more relevant now than ever.\u003c/p>\n\u003cp>From workers rights to diversity, equity and inclusion in the workplace, this month’s 80th anniversary event holds weight. For academics and activists, there’s the opportunity to learn about people like Dr. Robert L. Allen, who wrote the book \u003cem>The Port Chicago Mutiny\u003c/em>. There’s even something for those discussing reparations and land repatriation.\u003c/p>\n\u003cp>And, in addition to education, as Padmore reminds us, there’s room for entertainment — all while honoring the legacy of the Port Chicago 50.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Port Chicago Weekend takes place Thursday–Sunday, July 18–21, at various locations in Port Chicago, Vallejo, Pittsburg, Oakland, San Francisco and San Bruno. \u003ca href=\"https://portchicagoweekend.org/\">More details on the weekend’s events here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"One of the worst disasters in US military history spurred advances in civil rights and desegregation. ","status":"publish","parent":0,"modified":1720632625,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1575},"headData":{"title":"Remembering the Port Chicago Explosion, 80 Years Later | KQED","description":"One of the worst disasters in US military history spurred advances in civil rights and desegregation. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Remembering the Port Chicago Explosion, 80 Years Later","datePublished":"2024-07-10T09:13:02-07:00","dateModified":"2024-07-10T10:30:25-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13960447","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960447/port-chicago-explosion-80-year-anniversary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n the anniversary of a horrifying explosion that killed 320 men — 202 of them African American — most people would expect a reverent service or somber memorial to mark the tragedy. Not big bands full of brass instruments playing 1940s jazz and swing music. Not people dancing, twisting and flapping in jubilee.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">But that’s exactly the sort of energy renowned bandleader and composer Marcus Shelby wants to evoke at \u003ca href=\"https://www.portchicagoweekend.org/\" target=\"_blank\" rel=\"noopener\">an event\u003c/a> marking the 80th anniversary of the Port Chicago Explosion, the deadliest incident on mainland American soil of World War II and one of the worst disasters in U.S. military history.\u003c/p>\n\u003cp>Utilizing entertainment in order to educate people on what happened at Port Chicago, just north of Concord, is imperative to \u003ca href=\"https://linktr.ee/eastbaybec\" target=\"_blank\" rel=\"noopener\">Yulie Padmore\u003c/a>. “Ultimately,” says Padmore, the director of the \u003ca href=\"https://www.portchicago50.com/\" target=\"_blank\" rel=\"noopener\">Port Chicago Alliance\u003c/a>, “this is a history I’m very passionate about.”\u003c/p>\n\u003cp>Padmore is quick to enumerate the often-overlooked significance of the disaster and its aftermath. The subsequent legal proceedings laid the groundwork for the civil rights movement. It directly led to the desegregation of the Navy, and later the military as a whole. It also influenced desegregation in the broader U.S. workforce, as well as the country’s education system.\u003c/p>\n\u003cfigure id=\"attachment_13960707\" class=\"wp-caption aligncenter\" style=\"max-width: 829px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg\" alt=\"The smiles of those pictured here are a reminder that the majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s.\" width=\"829\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg 829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-768x768.jpeg 768w\" sizes=\"(max-width: 829px) 100vw, 829px\">\u003cfigcaption class=\"wp-caption-text\">The majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s. \u003ccite>(Naval History and Heritage Command )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What we’re saying is,” says Padmore during a phone call, “this work happened \u003cem>right here\u003c/em> in The Bay.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Padmore and Shelby are just two of the many folks preparing for \u003ca href=\"https://www.portchicagoweekend.org/\">Port Chicago Weekend\u003c/a>, a three-day series of events spanning from July 18–July 21. Along with live music and dancing, the lineup includes a performance of \u003cem>\u003ca class=\"showMoreInfo\" href=\"https://www.tickets831.com/Event/port-chicago-50-the-play-289922\">Port Chicago 50\u003c/a>\u003c/em>, a play by David Shackelford and Dennis Rowe.\u003c/p>\n\u003cp>Attendees will also get to hear firsthand from relatives of those who died in the tragic events of July 17, 1944 — exactly 80 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13960705\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960705\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg\" alt=\"A group of African American sailors marching at Port Chicago.\" width=\"960\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-768x560.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A group of African American sailors marching at Port Chicago. \u003ccite>(National Park Service Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 1944, the United States was in the thick of World War II, and all throughout the Bay Area, workers played a huge role in the war effort. Women entered the workforce in droves, a shift often symbolized through the fictional character of \u003ca href=\"https://www.nps.gov/places/rosie-the-riveter-in-richmond-audio-program.htm\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter\u003c/a>, and immortalized in a namesake park and museum in Richmond. Around that same time, UC Berkeley scientists worked on \u003ca href=\"https://www.osti.gov/opennet/manhattan-project-history/Places/Other/berkeley.html\" target=\"_blank\" rel=\"noopener\">The Manhattan Project\u003c/a>, which brought about the atom bomb. Thousands more labored in mills in Marin County, factories in Oakland and on ships in Hunters Point, all in support of the war effort.\u003c/p>\n\u003cp>In July, at a naval base on Suisun Bay, hundreds of men worked tirelessly to load munitions onto a 440-foot-long cargo ship, the S.S. \u003cem>E.A. Bryan\u003c/em>. Reports show that between big cluster bombs, small ammunitions, naval mines and other explosives, \u003ca href=\"https://www.history.navy.mil/research/library/online-reading-room/title-list-alphabetically/p/port-chicago-ca-explosion/online-documents/court-of-inquiry/factual-detail-prior-to-explosion.html\" target=\"_blank\" rel=\"noopener\">over 4,600 pounds of weaponry\u003c/a> was loaded onto the vessel at the time of the incident. The cargo ship itself, loaded with over 5,000 barrels of bunker oil, was highly flammable. Approximately 430 tons of ammunition and bombs sat in railroad cars not far from where the ship was moored. Another ship, the S.S. \u003cem>Quinault Victory\u003c/em>, was directly adjacent.\u003c/p>\n\u003cfigure id=\"attachment_13960721\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960721\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg\" alt=\"Navy servicemen working on the pier during WWII.\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05-160x240.jpg 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen working on the pier during WWII. \u003ccite>(National Park Service, Port Chicago Naval Magazine National Memorial )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after 10 p.m. on the night of July 17, witnesses heard the sound of metal falling before a booming explosion sent a fireball measuring three miles in diameter into the sky. Shrapnel was launched 1,200 feet into the air. The explosion was reportedly heard as far away as Nevada. It \u003ca href=\"http://www.asjournal.org/59-2015/commemorating-port-chicago-naval-magazine-disaster-1944/\" target=\"_blank\" rel=\"noopener\">measured 3.4 on the Richter scale\u003c/a> in Berkeley, 20 miles away.\u003c/p>\n\u003cp>Of those men working on the ship, 320 were killed instantly, vaporized by the blast. Hundreds more were injured. Those who perished in the explosion accounted for 15% of African American servicemen who died during WWII.\u003c/p>\n\u003cp>The exact cause of the explosion was never identified. But during a trial, it became clear that \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/august/port-chicago-revisited\" target=\"_blank\" rel=\"noopener\">the Navy hadn’t followed protocol\u003c/a> in training the largely African American workers how to properly load munitions. What’s more, three weeks later the remaining workers were sent to Mare Island in Vallejo to continue loading munitions for the Navy.\u003c/p>\n\u003cp>Seeing that no new safety measures had been taken, workers protested. \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/people.htm\" target=\"_blank\" rel=\"noopener\">Over 250 men initially refused\u003c/a> the unsafe labor conditions. But soon, the majority returned to work, leaving 50 men — known as the Port Chicago 50 — to protest.\u003c/p>\n\u003cfigure id=\"attachment_13960706\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg\" alt=\"African Americans accounted for 5.5% of the Navy during WWII--over 187,000 sailors-- but only 64 were commissioned as officers.\" width=\"1920\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1020x744.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1536x1120.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">African Americans accounted for 5.5% of the Navy during WWII — over 187,000 sailors — but only 64 were commissioned as officers. \u003ccite>(National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charged with disobedience and mutiny during wartime, the men were supported by Thurgood Marshall, who wasn’t their lawyer but attended the hearings and publicized their case. This was years before Marshall worked on the landmark case \u003cem>Brown v. Board of Education\u003c/em> or became the first African American Supreme Court justice, but as lead counsel with the NAACP Legal Defense Fund, Marshall’s name still held weight.\u003c/p>\n\u003cp>In support of the Port Chicago 50, \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/the-mutiny-trial.htm\" target=\"_blank\" rel=\"noopener\">Marshall said\u003c/a>, “This is not 50 men on trial for mutiny. This is the Navy on trial for its whole vicious policy toward Negroes. Negroes in the Navy don’t mind loading ammunition. They just want to know why they are the only ones doing the loading.”\u003c/p>\n\u003cp>In the end, the 50 men were imprisoned, with sentences ranging from eight to 15 years at Terminal Island Disciplinary Barracks in San Pedro. The higher ranking officers, all of them white, walked away scot-free. On Capitol Hill, the Navy requested compensation for each of the victim’s families in the amount of $5,000; after protests from the staunchly racist Mississippi Congressman John Rankin, that figure was reduced to $3,000.\u003c/p>\n\u003cfigure id=\"attachment_13960727\" class=\"wp-caption aligncenter\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960727\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg\" alt=\"Navy serviceman and Port Chicago 50 member, Joseph Small.\" width=\"320\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small-160x395.jpeg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Navy serviceman and Port Chicago 50 member Joseph Small. \u003ccite>(Robert L. Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>y January 1946, the war was over and the Port Chicago 50 were released from prison. That same year, \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/february/segregation-navy#:~:text=On%20paper%2C%20the%20history%20of,convictions%20of%2050%20black%20sailors.\" target=\"_blank\" rel=\"noopener\">the Navy ended all formal segregation\u003c/a>. Two years later, on July 26, 1948, \u003ca href=\"https://www.archives.gov/milestone-documents/executive-order-9981\" target=\"_blank\" rel=\"noopener\">President Harry Truman formally desegregated the military\u003c/a> and established the President’s Committee on Equality of Treatment and Opportunity in the Armed Services.\u003c/p>\n\u003cp>In 1999, President\u003ca href=\"https://www.nytimes.com/1999/12/24/us/sailor-from-mutiny-in-44-wins-a-presidential-pardon.html\" target=\"_blank\" rel=\"noopener\"> Bill Clinton officially pardoned Port Chicago 50 member Freddie Meeks\u003c/a>. But a number of other men refused to accept the pardon, as it would inherently acknowledge some form of guilt.\u003c/p>\n\u003cp>“\u003ca href=\"https://portchicago50.com/exoneration.html\" target=\"_blank\" rel=\"noopener\">My goal is to the see the men exonerated this year\u003c/a>,” says Yulie Padmore. Working with the likes of \u003ca href=\"https://portchicagomemorial.org/about/\" target=\"_blank\" rel=\"noopener\">Friends of Port Chicago National Memorial\u003c/a> President \u003ca href=\"https://www.nps.gov/articles/000/diana-mcdaniel.htm\" target=\"_blank\" rel=\"noopener\">Rev. Diana McDaniel\u003c/a>, Padmore is also actively ensuring that the story of the Port Chicago disaster and the Port Chicago 50 is accessible to all.\u003c/p>\n\u003cp>In 1994, the \u003ca href=\"https://www.nps.gov/poch/planyourvisit/things2do.htm\" target=\"_blank\" rel=\"noopener\">Port Chicago Naval Magazine National Memorial\u003c/a> was dedicated to those who died in the explosion. Fifteen years later, \u003ca href=\"https://portchicagomemorial.org/2009/10/29/president-obama-signs-bill-designating-port-chicago-memorial-as-unit-of-the-national-parks-service/\" target=\"_blank\" rel=\"noopener\">President Barack Obama\u003c/a> signed a bill establishing that same site as a unit of the National Park Service. The problem is that the public doesn’t readily have access to that land, as it’s on an active naval base.\u003c/p>\n\u003cp>But there’s a new park in the works: \u003ca href=\"https://www.ebparks.org/parks/thurgood-marshall\" target=\"_blank\" rel=\"noopener\">Thurgood Marshall Regional Park — Home of the Port Chicago 50\u003c/a>. “We’re going to have a visitors center here in the Bay Area,” says Padmore of the forthcoming space in the Los Medanos Hills, a 2,500-acre site between the cities of Concord and Pittsburg. And although \u003ca href=\"https://www.ebparks.org/projects/thurgood-marshall-regional-park-land-use-plan\" target=\"_blank\" rel=\"noopener\">the center is 40 years out\u003c/a>, just the name of the site is a significant step. “It’s the first regional park named after people who’ve been formerly incarcerated,” says Padmore, noting that the community pushed to add “Home of the Port Chicago 50” to the title.\u003c/p>\n\u003cfigure id=\"attachment_13960728\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960728\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg\" alt=\"Navy servicemen honored at Port Chicago.\" width=\"960\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-800x629.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-160x126.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-768x604.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen honored at Port Chicago. \u003ccite>(U.S. Navy via National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s much greater than we can imagine at this point,” Padmore tells me. “Folks from California, we go to Washington, D.C., and we learn about our history … but where do we have a significant history of this magnitude for African Americans in the state of California?”\u003c/p>\n\u003cp>Although the center’s opening is well into the future, and the story of the disaster at Port Chicago happened 80 years in the past, this piece of history is more relevant now than ever.\u003c/p>\n\u003cp>From workers rights to diversity, equity and inclusion in the workplace, this month’s 80th anniversary event holds weight. For academics and activists, there’s the opportunity to learn about people like Dr. Robert L. Allen, who wrote the book \u003cem>The Port Chicago Mutiny\u003c/em>. There’s even something for those discussing reparations and land repatriation.\u003c/p>\n\u003cp>And, in addition to education, as Padmore reminds us, there’s room for entertainment — all while honoring the legacy of the Port Chicago 50.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Port Chicago Weekend takes place Thursday–Sunday, July 18–21, at various locations in Port Chicago, Vallejo, Pittsburg, Oakland, San Francisco and San Bruno. \u003ca href=\"https://portchicagoweekend.org/\">More details on the weekend’s events here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960447/port-chicago-explosion-80-year-anniversary","authors":["11491"],"categories":["arts_1","arts_835","arts_7862","arts_235"],"tags":["arts_22207","arts_10342","arts_10278","arts_2640","arts_22206"],"featImg":"arts_13960448","label":"arts"},"arts_13960687":{"type":"posts","id":"arts_13960687","meta":{"index":"posts_1716263798","site":"arts","id":"13960687","score":null,"sort":[1720540800000]},"guestAuthors":[],"slug":"oakland-ballers-baseball-summertime-fans","title":"Summertime Baseball, Oakland Style","publishDate":1720540800,"format":"aside","headTitle":"Summertime Baseball, Oakland Style | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1.jpeg\" alt=\"\" width=\"1232\" height=\"1600\" class=\"aligncenter size-full wp-image-13960698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1.jpeg 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1-800x1039.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1-1020x1325.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1-160x208.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1-768x997.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1-1183x1536.jpeg 1183w\" sizes=\"(max-width: 1232px) 100vw, 1232px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2.jpeg\" alt=\"\" width=\"1230\" height=\"1600\" class=\"aligncenter size-full wp-image-13960697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2.jpeg 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2-800x1041.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2-1020x1327.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2-160x208.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2-768x999.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2-1181x1536.jpeg 1181w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3.jpeg\" alt=\"\" width=\"1236\" height=\"1600\" class=\"aligncenter size-full wp-image-13960696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3.jpeg 1236w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3-800x1036.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3-1020x1320.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3-160x207.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3-768x994.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3-1187x1536.jpeg 1187w\" sizes=\"(max-width: 1236px) 100vw, 1236px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_.jpg\" alt=\"\" width=\"1237\" height=\"1600\" class=\"aligncenter size-full wp-image-13960750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_.jpg 1237w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_-800x1035.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_-1020x1319.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_-768x993.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_-1188x1536.jpg 1188w\" sizes=\"(max-width: 1237px) 100vw, 1237px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5.jpeg\" alt=\"\" width=\"1247\" height=\"1600\" class=\"aligncenter size-full wp-image-13960694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5.jpeg 1247w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-800x1026.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-1020x1309.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-160x205.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-768x985.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-1197x1536.jpeg 1197w\" sizes=\"(max-width: 1247px) 100vw, 1247px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6.jpeg\" alt=\"\" width=\"1248\" height=\"1600\" class=\"aligncenter size-full wp-image-13960693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6.jpeg 1248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6-800x1026.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6-1020x1308.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6-160x205.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6-768x985.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6-1198x1536.jpeg 1198w\" sizes=\"(max-width: 1248px) 100vw, 1248px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7.jpeg\" alt=\"\" width=\"1240\" height=\"1600\" class=\"aligncenter size-full wp-image-13960692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7.jpeg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-800x1032.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-1020x1316.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-768x991.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-1190x1536.jpeg 1190w\" sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8.jpeg\" alt=\"\" width=\"1245\" height=\"1600\" class=\"aligncenter size-full wp-image-13960691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8.jpeg 1245w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8-800x1028.jpeg 800w, 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sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003c/p>\n\n","blocks":[],"excerpt":"The Oakland Ballers and a horde of loyal fans are building a new sports era in The Town.","status":"publish","parent":0,"modified":1720541121,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":2},"headData":{"title":"The Oakland Ballers and Their Fans Are Building a New Baseball Era | KQED","description":"The Oakland Ballers and a horde of loyal fans are building a new sports era in The Town.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"The Oakland Ballers and Their Fans Are Building a New Baseball Era %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Summertime Baseball, Oakland 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srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-800x1031.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-1020x1314.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-768x989.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-1192x1536.jpeg 1192w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10.jpeg\" alt=\"\" width=\"1240\" height=\"1600\" class=\"aligncenter size-full wp-image-13960689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10.jpeg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10-800x1032.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10-1020x1316.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10-768x991.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10-1190x1536.jpeg 1190w\" sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960687/oakland-ballers-baseball-summertime-fans","authors":["byline_arts_13960687"],"categories":["arts_1","arts_13238"],"tags":["arts_10092","arts_10342","arts_10278","arts_1143","arts_1551","arts_21764"],"featImg":"arts_13960708","label":"arts"},"arts_13960019":{"type":"posts","id":"arts_13960019","meta":{"index":"posts_1716263798","site":"arts","id":"13960019","score":null,"sort":[1718906228000]},"guestAuthors":[],"slug":"the-culture-kendrick-lamar-pop-out-juneteenth","title":"The Culture","publishDate":1718906228,"format":"standard","headTitle":"The Culture | KQED","labelTerm":{},"content":"\u003cp>[dropcap]T[/dropcap]here’s a difference between Black culture and American culture. Sometimes, they unfortunately get intertwined.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\"> In America, the coolness of being Black is often enmeshed with the ever-present danger of being Black. Big, beautiful smiles on African American children are a gauze for the gaping wounds caused by conditions from which many of them come. The strength and solidarity of Black love is too often held up in contrast to the hate this country has instilled in its people; our people.\u003c/p>\n\u003cp>Let’s dissect “the culture.”\u003c/p>\n\u003cfigure id=\"attachment_13960027\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charity Nichols reads a book at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I celebrated Juneteenth with household chores and reading before sitting on the couch, oscillating between social media apps and double-tapping posts celebrating the anniversary of enslaved Africans in Texas learning that they’d been freed. In the background, my TV screen illuminated with images and music from \u003ca href=\"https://en.wikipedia.org/wiki/The_Pop_Out:_Ken_%26_Friends\">The Pop Out\u003c/a>, a one-day festival featuring hip-hop acts from Los Angeles, headlined by Kendrick Lamar.\u003c/p>\n\u003cp>Narrated \u003ca href=\"https://www.instagram.com/p/C8bJVTVu1sN/?img_index=1\" target=\"_blank\" rel=\"noopener\">by Vallejo’s E-40\u003c/a>, the event put Black inner-city culture of L.A. front and center: red and blue flags, Chuck Taylors, fingers twisting up as sets were repped and folks dancing– or rather walkin’– in honor of their hoods.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Younger artists like Westside Boogie and Kalan.FrFr performed on the same stage that Dr. Dre would later rock. Viewers were reminded that Problem now performs under his name JasonMartin, that Tommy The Clown has been putting in community work for over three decades, and that DJ Mustard’s extensive list of hits still slap.\u003c/p>\n\u003cfigure id=\"attachment_13960106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13960106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar performs during ‘The Pop Out – Ken & Friends’ at the Forum on June 19, 2024 in Inglewood, California. \u003ccite>(Timothy Norris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Kendrick hit the stage, opening with his track “Euphoria,” a six-minute diss song that dropped earlier this year, aimed at Canadian rapper Drake. The audience rapped along bar for bar. Kendrick then brought out his former TDE label-mates Jay Rock, Ab-Soul and ScHoolboy Q for hit songs like “Money Trees” and “Collard Greens.”\u003c/p>\n\u003cp>And then it was time for the mega-hit song of the summer, “\u003ca href=\"https://www.youtube.com/watch?v=T6eK-2OQtew\" target=\"_blank\" rel=\"noopener\">Not Like Us\u003c/a>.” Having grown from a Drake diss to a party anthem, “Not Like Us” is now part of the lexicon. “Sometimes you gotta pop out and show niggas” is the mantra for 2024.\u003c/p>\n\u003cp>With the song, and the event as a whole, Kendrick’s goal wasn’t solely to tarnish Drake’s reputation for speaking foul on the West Coast. Kendrick accomplished that handily by running back “Not Like Us” not once, not twice, but instead performing it five times in a row. His true aim went much higher: to use the region’s animosity of one man to unify the notoriously splintered communities of Southern California.\u003c/p>\n\u003cp>[aside postID='arts_13912853']“This shit making me emotional,” said Kendrick to the crowd, as a growing number of performers and professional athletes came on stage toward the end of the show. “We been fucked up since Nipsey died… we been fucked up since Kobe died.”\u003c/p>\n\u003cp>As people got into place for a group photo, Kendrick, wearing a red hoodie, glasses and a red Dodgers cap, continued to speak to the audience. “We done lost a lot of homies to this music shit, a lot of homies to this street shit. And for all of us to be on stage together, unity, from each side of muthafuckin’ L.A. — crips, bloods, pirus — that shit is special, man.”\u003c/p>\n\u003cp>All this at the Forum in Inglewood, where Kobe and Shaq carried on the legacy of the Showtime Lakers that Kareem and Magic created. A place where superstars like Prince and Whitney Houston gave legendary performances. And now, a historic showing of Black Los Angeles culture. On Juneteenth, nonetheless.\u003c/p>\n\u003cfigure id=\"attachment_13960030\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch.jpg\" alt=\"\" width=\"1400\" height=\"933\" class=\"size-full wp-image-13960030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-768x512.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar assembles a historic group photo onstage at the Forum in Inglewood, California, June 19, 2024. \u003ccite>(Amazon Music / Twitch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap]t was beautiful. It could’ve simply been a diss-track party. Instead, it illustrated how deeply committed Kendrick is to his community’s culture.\u003c/p>\n\u003cp>It also reminded me that he’s not one to shy away from critiquing it as well.\u003c/p>\n\u003cp>In 2022, ahead of the release of his album \u003cem>Mr. Morale & the Big Steppers\u003c/em>, Kendrick dropped the song “The Heart Part 5.” He opens the song candidly talking about conflicts of \u003cem>the culture\u003c/em>. “In a land where hurt people hurt people,” says Kendrick, “fuck calling it culture.”\u003c/p>\n\u003cfigure id=\"attachment_13960105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13960105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Parlet Cooper, Daja Herad, Omarri Beck, and Christian Johnson, pose for a portrait before the Kendrick Lamar Pop Out concert on Juneteenth at The Forum on Wednesday, June 19, 2024 in Inglewood, CA. \u003ccite>(Michael Blackshire / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kendrick didn’t perform that song last night, but I woke up thinking about it. It crossed my mind as I lay in bed scrolling social media, the sun rising on the first day of summer.\u003c/p>\n\u003cp>In my feed, images of people attending The Pop Out and joyous Juneteenth celebrations around the country collided with heinous videos showing multiple people shot in the aftermath of an event by Lake Merritt in Oakland.\u003c/p>\n\u003cp>According to reports, thousands of people were present. Many of them were young folks of color, Black people. I scrolled and saw clips of sunshine, food, music — people celebrating freedom. And then I heard recordings of gunshots, saw people ducking and diving, pools of blood and a limp body.\u003c/p>\n\u003cp>The culture.\u003c/p>\n\u003cfigure id=\"attachment_13960026\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Individuals dance at the Hella Juneteenth ‘The Cookout’ at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just Oakland. There were also unfortunate shootings at or after recent Juneteenth celebrations in \u003ca href=\"https://www.wavy.com/news/local-news/norfolk/police-shooting-in-norfolk-at-the-800-e-olney-road/\" target=\"_blank\" rel=\"noopener\">Norfolk, Virginia\u003c/a>; \u003ca href=\"https://www.wisn.com/article/detective-opens-fire-on-shooter-who-killed-teen-at-milwaukee-park-after-juneteenth-event/61182147\" target=\"_blank\" rel=\"noopener\">Milwaukee, Wisconsin\u003c/a>; and \u003ca href=\"https://www.cbsnews.com/news/round-rock-texas-shooting-juneteenth-celebration/\" target=\"_blank\" rel=\"noopener\">in Texas, just north of Austin.\u003c/a>\u003c/p>\n\u003cp>As you read this, there are news outlets and social media pundits taking these examples of pain and framing them as an aspect of Black culture.\u003c/p>\n\u003cp>But it’s American culture.\u003c/p>\n\u003cp>Well, it’s American. I wouldn’t even call it culture. \u003cem>In a land where hurt people hurt people, fuck calling it culture.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960028\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A family eats together at the Hella Juneteenth ‘The Cookout’ at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]K[/dropcap]endrick’s show at the Forum wasn’t perfect. There’s righteous critiques about the lack of women performing, and the platforming of Dr. Dre given\u003ca href=\"https://thegrio.com/2023/02/14/dr-dre-has-long-been-accused-of-violence-against-women-why-is-he-still-being-rewarded/\" target=\"_blank\" rel=\"noopener\"> his documented cases of domestic abuse\u003c/a>. There’s even the age-old notion that showcasing “gang culture” might lead others to want to be a part of that lifestyle.\u003c/p>\n\u003cp>But what our cousins to the south got \u003cem>right\u003c/em> was unity. That’s Black culture, that’s African diasporic culture. We come together as a people. For funerals, parties and more, we unify. Coming together to celebrate the downfall of a collective enemy — be it a culture vulture who poses as a pop star or the institution of slavery — Black folks come together.\u003c/p>\n\u003cp>But the question remains: how can we continue to be in community, and not let the very American culture of guns and violence continue to creep into our celebrations?\u003c/p>\n\u003cp>Communication. Community. Cultivating healthy methods of healing. Offering resources. Getting rid of the pervasive American war-bent mindset. We know what the answers are, but we haven’t shown that we can apply them en masse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I look forward to the day we collectively pop out, together — like Kendrick showed us — to celebrate Black culture.\u003c/p>\n\n","blocks":[],"excerpt":"On Juneteenth, Kendrick Lamar showed a way forward for Black celebration — beyond American violence.","status":"publish","parent":0,"modified":1718989822,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1337},"headData":{"title":"What Kendrick's Pop Out Meant for the Culture on Juneteenth | KQED","description":"On Juneteenth, Kendrick Lamar showed a way forward for Black celebration — beyond American violence.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"What Kendrick's Pop Out Meant for the Culture on Juneteenth %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Culture","datePublished":"2024-06-20T10:57:08-07:00","dateModified":"2024-06-21T10:10:22-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary","sourceUrl":"https://www.kqed.org/artscommentary","sticky":false,"nprStoryId":"kqed-13960019","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960019/the-culture-kendrick-lamar-pop-out-juneteenth","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>here’s a difference between Black culture and American culture. Sometimes, they unfortunately get intertwined.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\"> In America, the coolness of being Black is often enmeshed with the ever-present danger of being Black. Big, beautiful smiles on African American children are a gauze for the gaping wounds caused by conditions from which many of them come. The strength and solidarity of Black love is too often held up in contrast to the hate this country has instilled in its people; our people.\u003c/p>\n\u003cp>Let’s dissect “the culture.”\u003c/p>\n\u003cfigure id=\"attachment_13960027\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charity Nichols reads a book at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I celebrated Juneteenth with household chores and reading before sitting on the couch, oscillating between social media apps and double-tapping posts celebrating the anniversary of enslaved Africans in Texas learning that they’d been freed. In the background, my TV screen illuminated with images and music from \u003ca href=\"https://en.wikipedia.org/wiki/The_Pop_Out:_Ken_%26_Friends\">The Pop Out\u003c/a>, a one-day festival featuring hip-hop acts from Los Angeles, headlined by Kendrick Lamar.\u003c/p>\n\u003cp>Narrated \u003ca href=\"https://www.instagram.com/p/C8bJVTVu1sN/?img_index=1\" target=\"_blank\" rel=\"noopener\">by Vallejo’s E-40\u003c/a>, the event put Black inner-city culture of L.A. front and center: red and blue flags, Chuck Taylors, fingers twisting up as sets were repped and folks dancing– or rather walkin’– in honor of their hoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Younger artists like Westside Boogie and Kalan.FrFr performed on the same stage that Dr. Dre would later rock. Viewers were reminded that Problem now performs under his name JasonMartin, that Tommy The Clown has been putting in community work for over three decades, and that DJ Mustard’s extensive list of hits still slap.\u003c/p>\n\u003cfigure id=\"attachment_13960106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13960106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar performs during ‘The Pop Out – Ken & Friends’ at the Forum on June 19, 2024 in Inglewood, California. \u003ccite>(Timothy Norris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Kendrick hit the stage, opening with his track “Euphoria,” a six-minute diss song that dropped earlier this year, aimed at Canadian rapper Drake. The audience rapped along bar for bar. Kendrick then brought out his former TDE label-mates Jay Rock, Ab-Soul and ScHoolboy Q for hit songs like “Money Trees” and “Collard Greens.”\u003c/p>\n\u003cp>And then it was time for the mega-hit song of the summer, “\u003ca href=\"https://www.youtube.com/watch?v=T6eK-2OQtew\" target=\"_blank\" rel=\"noopener\">Not Like Us\u003c/a>.” Having grown from a Drake diss to a party anthem, “Not Like Us” is now part of the lexicon. “Sometimes you gotta pop out and show niggas” is the mantra for 2024.\u003c/p>\n\u003cp>With the song, and the event as a whole, Kendrick’s goal wasn’t solely to tarnish Drake’s reputation for speaking foul on the West Coast. Kendrick accomplished that handily by running back “Not Like Us” not once, not twice, but instead performing it five times in a row. His true aim went much higher: to use the region’s animosity of one man to unify the notoriously splintered communities of Southern California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13912853","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“This shit making me emotional,” said Kendrick to the crowd, as a growing number of performers and professional athletes came on stage toward the end of the show. “We been fucked up since Nipsey died… we been fucked up since Kobe died.”\u003c/p>\n\u003cp>As people got into place for a group photo, Kendrick, wearing a red hoodie, glasses and a red Dodgers cap, continued to speak to the audience. “We done lost a lot of homies to this music shit, a lot of homies to this street shit. And for all of us to be on stage together, unity, from each side of muthafuckin’ L.A. — crips, bloods, pirus — that shit is special, man.”\u003c/p>\n\u003cp>All this at the Forum in Inglewood, where Kobe and Shaq carried on the legacy of the Showtime Lakers that Kareem and Magic created. A place where superstars like Prince and Whitney Houston gave legendary performances. And now, a historic showing of Black Los Angeles culture. On Juneteenth, nonetheless.\u003c/p>\n\u003cfigure id=\"attachment_13960030\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch.jpg\" alt=\"\" width=\"1400\" height=\"933\" class=\"size-full wp-image-13960030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-768x512.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar assembles a historic group photo onstage at the Forum in Inglewood, California, June 19, 2024. \u003ccite>(Amazon Music / Twitch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t was beautiful. It could’ve simply been a diss-track party. Instead, it illustrated how deeply committed Kendrick is to his community’s culture.\u003c/p>\n\u003cp>It also reminded me that he’s not one to shy away from critiquing it as well.\u003c/p>\n\u003cp>In 2022, ahead of the release of his album \u003cem>Mr. Morale & the Big Steppers\u003c/em>, Kendrick dropped the song “The Heart Part 5.” He opens the song candidly talking about conflicts of \u003cem>the culture\u003c/em>. “In a land where hurt people hurt people,” says Kendrick, “fuck calling it culture.”\u003c/p>\n\u003cfigure id=\"attachment_13960105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13960105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Parlet Cooper, Daja Herad, Omarri Beck, and Christian Johnson, pose for a portrait before the Kendrick Lamar Pop Out concert on Juneteenth at The Forum on Wednesday, June 19, 2024 in Inglewood, CA. \u003ccite>(Michael Blackshire / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kendrick didn’t perform that song last night, but I woke up thinking about it. It crossed my mind as I lay in bed scrolling social media, the sun rising on the first day of summer.\u003c/p>\n\u003cp>In my feed, images of people attending The Pop Out and joyous Juneteenth celebrations around the country collided with heinous videos showing multiple people shot in the aftermath of an event by Lake Merritt in Oakland.\u003c/p>\n\u003cp>According to reports, thousands of people were present. Many of them were young folks of color, Black people. I scrolled and saw clips of sunshine, food, music — people celebrating freedom. And then I heard recordings of gunshots, saw people ducking and diving, pools of blood and a limp body.\u003c/p>\n\u003cp>The culture.\u003c/p>\n\u003cfigure id=\"attachment_13960026\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Individuals dance at the Hella Juneteenth ‘The Cookout’ at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just Oakland. There were also unfortunate shootings at or after recent Juneteenth celebrations in \u003ca href=\"https://www.wavy.com/news/local-news/norfolk/police-shooting-in-norfolk-at-the-800-e-olney-road/\" target=\"_blank\" rel=\"noopener\">Norfolk, Virginia\u003c/a>; \u003ca href=\"https://www.wisn.com/article/detective-opens-fire-on-shooter-who-killed-teen-at-milwaukee-park-after-juneteenth-event/61182147\" target=\"_blank\" rel=\"noopener\">Milwaukee, Wisconsin\u003c/a>; and \u003ca href=\"https://www.cbsnews.com/news/round-rock-texas-shooting-juneteenth-celebration/\" target=\"_blank\" rel=\"noopener\">in Texas, just north of Austin.\u003c/a>\u003c/p>\n\u003cp>As you read this, there are news outlets and social media pundits taking these examples of pain and framing them as an aspect of Black culture.\u003c/p>\n\u003cp>But it’s American culture.\u003c/p>\n\u003cp>Well, it’s American. I wouldn’t even call it culture. \u003cem>In a land where hurt people hurt people, fuck calling it culture.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960028\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A family eats together at the Hella Juneteenth ‘The Cookout’ at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">K\u003c/span>\u003c/p>\u003cp>endrick’s show at the Forum wasn’t perfect. There’s righteous critiques about the lack of women performing, and the platforming of Dr. Dre given\u003ca href=\"https://thegrio.com/2023/02/14/dr-dre-has-long-been-accused-of-violence-against-women-why-is-he-still-being-rewarded/\" target=\"_blank\" rel=\"noopener\"> his documented cases of domestic abuse\u003c/a>. There’s even the age-old notion that showcasing “gang culture” might lead others to want to be a part of that lifestyle.\u003c/p>\n\u003cp>But what our cousins to the south got \u003cem>right\u003c/em> was unity. That’s Black culture, that’s African diasporic culture. We come together as a people. For funerals, parties and more, we unify. Coming together to celebrate the downfall of a collective enemy — be it a culture vulture who poses as a pop star or the institution of slavery — Black folks come together.\u003c/p>\n\u003cp>But the question remains: how can we continue to be in community, and not let the very American culture of guns and violence continue to creep into our celebrations?\u003c/p>\n\u003cp>Communication. Community. Cultivating healthy methods of healing. Offering resources. Getting rid of the pervasive American war-bent mindset. We know what the answers are, but we haven’t shown that we can apply them en masse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I look forward to the day we collectively pop out, together — like Kendrick showed us — to celebrate Black culture.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960019/the-culture-kendrick-lamar-pop-out-juneteenth","authors":["11491"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_2767","arts_10342","arts_10278","arts_7465","arts_1774","arts_1785","arts_1143"],"featImg":"arts_13960077","label":"source_arts_13960019"},"arts_13959827":{"type":"posts","id":"arts_13959827","meta":{"index":"posts_1716263798","site":"arts","id":"13959827","score":null,"sort":[1718377230000]},"guestAuthors":[],"slug":"calli-the-art-of-xicanx-peoples-omca-latinx-review","title":"Xicanx Identities on Full Display in OMCA’s Ambitious Latinx Exhibit","publishDate":1718377230,"format":"standard","headTitle":"Xicanx Identities on Full Display in OMCA’s Ambitious Latinx Exhibit | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>“Being a Mexican American is tough … we gotta prove to the Mexicans how Mexican we are, and we gotta prove to the Americans how American we are. We gotta be more Mexican than the Mexicans and more American than the Americans. It’s exhausting.”\u003c/p>\n\u003cp>So goes the ancient proverb shared in the Jennifer Lopez-starring, \u003ca href=\"https://remezcla.com/lists/film/selena-film-reviews-theatrical-release-1997/\">Chicanx cult classic film, \u003ci>Selena\u003c/i>\u003c/a>. In the scene, Selena (a young Lopez) listens as her dad (Edward James Olmos) explains how the border-schism proximity between the U.S. and Mexico make it nearly impossible for Mexican Americans — also known as Xicanx people — to feel fully grounded in either country. Exhausting, certainly. But also beautifully fractured.\u003c/p>\n\u003cp>From this glaring fault line, Xicanx people are born, and it’s where we breathe ourselves into our colorful, imaginative existences. Ever seen the murals in San Francisco’s Mission District, wandered past public art in East Los Angeles, or spent an afternoon in San Diego’s Chicano Park? Where else do you regularly experience that kind of public, communal catharsis through visual art?\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rife with political and social resilience, gender fluid expressions and an ancestral sense of homeland, \u003c/span>\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">\u003ci>\u003cspan style=\"font-weight: 400\">Calli: The Art of Xicanx Peoples\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> — an ambitious, 53-artist exhibit opening June 14 at the Oakland Museum of California — invites audiences to embrace and navigate these multi-dimensional complexities of Xicanx communities up close.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13959840\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959840\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-scaled.jpg\" alt=\"an adobe-layered canvas with indigenous and contemporary designs painted on the surface\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Los Angeles artist rafa esparza learned how to use adobe from his brick-making immigrant father. His artwork opens the show. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Held in the museum’s spacious, multi-room Great Hall, \u003ci>\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">Calli\u003c/a>\u003c/i> — a Nahuatl word for home, family and lineage — opens with an adobe installation from Los Angeles artist \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> (most recently featured in SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">\u003ci>Sitting on Chrome\u003c/i>\u003c/a>). The piece serves as a portal for museum-goers, signaling a transformation of space, time and psychology as they enter the main showrooms. Titled \u003ci>Dispatches de Abajo\u003c/i>, it features hand-formed, Indigenous-styled adobe sculptures and an adobe floor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And yet, references to the brutalism of our contemporary world are sprinkled on top of earth’s peaceful sediment: a series of adobe pit bulls wearing chain collars stare menacingly beneath images of Mesoamerican figures; an acrylic can of gun oil lube painted in the corner of an adobe block. esparaza’s immigrant father was a brick maker in Durango, Mexico who taught esparza and his siblings how to work with materials like adobe. It’s something that has gifted esparza a connection to the earth in an otherwise sharply concrete L.A. landscape.\u003c/p>\n\u003cp>Like esparza, many Xicanx artists have had to build their own mythologies, create their own paths and shape their own futures by calling up an ancestral past in a land that is neither here nor there. (Audio recordings of six year’s worth of California’s tectonic movements play softly from speakers as visitors walk through esparza’s womb-like installation.)\u003c/p>\n\u003cp>That search for an ethereal belonging is a central theme throughout \u003ci>Calli\u003c/i>. The exhibit is a healthy mix of contemporary works (kinetic papel picado, a mobile curandera station, a makeshift elote cart) and historical documents (archival posters, canonical prints, newspaper clippings, poems) that function as both an introduction to Xicanx history and an impressive Xicanx Hall of Fame for the already-initiated.\u003c/p>\n\u003cfigure id=\"attachment_13959830\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959830\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-scaled.jpeg\" alt=\"a yellow push cart labeled as Botanica del Barrio is displayed outdoors near a garden\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Montes’ ‘Botanica del barrio’ is one of the most multi-dimensional representations of Xicanx healing presented in the exhibit. \u003ccite>(OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trove of historical material is largely thanks to the late Chicana queer activist and professor Margaret “Margie” Terrazas Santos, whose efforts to collect posters from the Third World Liberation Front and Chicano Rights Movement culminated in an expansive and iconic resource for the OMCA, who acquired her visual library from living family members.\u003c/p>\n\u003cp>An intergenerational array of artists — including esparza, \u003ca href=\"https://www.instagram.com/cju.art.threads/?hl=en\">Consuelo Jimenez Underwood\u003c/a>, Carlos Francisco Jackson and a legion of others — were invited to create works in response to the posters, depicting Xicanx lore as not just something of the past, but of the current moment and beyond.\u003c/p>\n\u003cp>Jimenez Underwood confronts borders, military violence, displacement, migration and territorial conflict with a massive, site-specific contribution that spans the entirety of the exhibit’s largest wall with a multimedia mural. Jackson revisits the violence of the National Chicano Moratorium in 1970 with a silkscreen print.\u003c/p>\n\u003cp>Nearby, an original prose excerpt from Luis Valdez — a pivotal Xicanx playwright who founded Teatro Campesino in 1965 during the rise of United Farm Workers — is displayed within a case. His words outline the dualities of Xicanismo: “sentimental and cynical, fierce and docile, faithful and treacherous, individualistic and herd-following, in love with life and obsessed with death.” \u003ci>Calli\u003c/i> is all of this, at once, in a swirl of mediums, fabrics, textures and generational perspectives.\u003c/p>\n\u003cp>One of the expansive show’s highlights is its emphasis on queer and feminist Xicanx perspectives. Through photography, digital prints and various installations (video, audio and otherwise) viewers are presented with an alternative lens through which to understand the Xicanx pursuit of place and comfort within the largely patriarchal culture of Mexican machismo.\u003c/p>\n\u003cfigure id=\"attachment_13959838\" class=\"wp-caption alignnone\" style=\"max-width: 1945px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-scaled.jpg\" alt=\"a Chicano Rights Movement poster features the faces of two women joined by a flower in the middle\" width=\"1945\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-scaled.jpg 1945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-800x1053.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1020x1342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1167x1536.jpg 1167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1556x2048.jpg 1556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1920x2527.jpg 1920w\" sizes=\"(max-width: 1945px) 100vw, 1945px\">\u003cfigcaption class=\"wp-caption-text\">A Chicano Rights Movement poster. \u003ccite>(OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “autodenominación” (or act of self-naming) is an intuitive, if not necessary survivalism, that many Xicanx folks have had to perfect in dealing with not only racism, but homophobia. In a stunning subversion of machismo, a large Manuel Paul print shows two Xicanx men wrapped around one another behind a pickup truck, lips touching lips, with the well-known iconography of Mexican masculinity surrounding them (such as a bootleg \u003ci>Calvin and Hobbes\u003c/i> sticker in which Calvin is wearing a cowboy hat and taking a piss — a classic Mexican pick-up truck adornment).\u003c/p>\n\u003cp>Like the very Xicanx people the galleries are attempting to present, however, it is impossible to express each singular experience in all of its fullness. Rather than dig deep into one particular iteration of Xicanismo, \u003ci>Calli\u003c/i> opts to widen the spectrum, and thus, visitors are more likely to miss a particular angle or texture on display.\u003c/p>\n\u003cp>But isn’t that how one always feels when walking away from the most captivating art spaces? With more questions and desires to know? \u003ci>Calli\u003c/i> is only a beginning point. At its best, it offers the biggest invitation into the chaotic, healing vortex of Xicanx consciousness that any local museum could hope for. Being Mexican American is tough; but it’s also endlessly freeing to examine.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">Calli: The Art of Xicanx Peoples\u003c/a>’ is on view June 14, 2024–Jan. 26, 2025 at the Oakland Museum of California.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"One of the highlights of the large group show ‘Calli’ is its emphasis on queer and feminist perspectives.","status":"publish","parent":0,"modified":1718639654,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1128},"headData":{"title":"‘Calli: The Art of Xicanx Peopes’: OMCA’s Ambitious Latinx Exhibit | KQED","description":"One of the highlights of the large group show ‘Calli’ is its emphasis on queer and feminist perspectives.","ogTitle":"Xicanx Identities on Full Display in OMCA’s Ambitious Latinx Exhibit","ogDescription":"","ogImgId":"","twTitle":"Xicanx Identities on Full Display in OMCA’s Ambitious Latinx Exhibit","twDescription":"","twImgId":"","socialTitle":"‘Calli: The Art of Xicanx Peopes’: OMCA’s Ambitious Latinx Exhibit %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Xicanx Identities on Full Display in OMCA’s Ambitious Latinx Exhibit","datePublished":"2024-06-14T08:00:30-07:00","dateModified":"2024-06-17T08:54:14-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13959827","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959827/calli-the-art-of-xicanx-peoples-omca-latinx-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Being a Mexican American is tough … we gotta prove to the Mexicans how Mexican we are, and we gotta prove to the Americans how American we are. We gotta be more Mexican than the Mexicans and more American than the Americans. It’s exhausting.”\u003c/p>\n\u003cp>So goes the ancient proverb shared in the Jennifer Lopez-starring, \u003ca href=\"https://remezcla.com/lists/film/selena-film-reviews-theatrical-release-1997/\">Chicanx cult classic film, \u003ci>Selena\u003c/i>\u003c/a>. In the scene, Selena (a young Lopez) listens as her dad (Edward James Olmos) explains how the border-schism proximity between the U.S. and Mexico make it nearly impossible for Mexican Americans — also known as Xicanx people — to feel fully grounded in either country. Exhausting, certainly. But also beautifully fractured.\u003c/p>\n\u003cp>From this glaring fault line, Xicanx people are born, and it’s where we breathe ourselves into our colorful, imaginative existences. Ever seen the murals in San Francisco’s Mission District, wandered past public art in East Los Angeles, or spent an afternoon in San Diego’s Chicano Park? Where else do you regularly experience that kind of public, communal catharsis through visual art?\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rife with political and social resilience, gender fluid expressions and an ancestral sense of homeland, \u003c/span>\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">\u003ci>\u003cspan style=\"font-weight: 400\">Calli: The Art of Xicanx Peoples\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> — an ambitious, 53-artist exhibit opening June 14 at the Oakland Museum of California — invites audiences to embrace and navigate these multi-dimensional complexities of Xicanx communities up close.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13959840\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959840\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-scaled.jpg\" alt=\"an adobe-layered canvas with indigenous and contemporary designs painted on the surface\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Los Angeles artist rafa esparza learned how to use adobe from his brick-making immigrant father. His artwork opens the show. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Held in the museum’s spacious, multi-room Great Hall, \u003ci>\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">Calli\u003c/a>\u003c/i> — a Nahuatl word for home, family and lineage — opens with an adobe installation from Los Angeles artist \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> (most recently featured in SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">\u003ci>Sitting on Chrome\u003c/i>\u003c/a>). The piece serves as a portal for museum-goers, signaling a transformation of space, time and psychology as they enter the main showrooms. Titled \u003ci>Dispatches de Abajo\u003c/i>, it features hand-formed, Indigenous-styled adobe sculptures and an adobe floor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And yet, references to the brutalism of our contemporary world are sprinkled on top of earth’s peaceful sediment: a series of adobe pit bulls wearing chain collars stare menacingly beneath images of Mesoamerican figures; an acrylic can of gun oil lube painted in the corner of an adobe block. esparaza’s immigrant father was a brick maker in Durango, Mexico who taught esparza and his siblings how to work with materials like adobe. It’s something that has gifted esparza a connection to the earth in an otherwise sharply concrete L.A. landscape.\u003c/p>\n\u003cp>Like esparza, many Xicanx artists have had to build their own mythologies, create their own paths and shape their own futures by calling up an ancestral past in a land that is neither here nor there. (Audio recordings of six year’s worth of California’s tectonic movements play softly from speakers as visitors walk through esparza’s womb-like installation.)\u003c/p>\n\u003cp>That search for an ethereal belonging is a central theme throughout \u003ci>Calli\u003c/i>. The exhibit is a healthy mix of contemporary works (kinetic papel picado, a mobile curandera station, a makeshift elote cart) and historical documents (archival posters, canonical prints, newspaper clippings, poems) that function as both an introduction to Xicanx history and an impressive Xicanx Hall of Fame for the already-initiated.\u003c/p>\n\u003cfigure id=\"attachment_13959830\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959830\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-scaled.jpeg\" alt=\"a yellow push cart labeled as Botanica del Barrio is displayed outdoors near a garden\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Montes’ ‘Botanica del barrio’ is one of the most multi-dimensional representations of Xicanx healing presented in the exhibit. \u003ccite>(OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trove of historical material is largely thanks to the late Chicana queer activist and professor Margaret “Margie” Terrazas Santos, whose efforts to collect posters from the Third World Liberation Front and Chicano Rights Movement culminated in an expansive and iconic resource for the OMCA, who acquired her visual library from living family members.\u003c/p>\n\u003cp>An intergenerational array of artists — including esparza, \u003ca href=\"https://www.instagram.com/cju.art.threads/?hl=en\">Consuelo Jimenez Underwood\u003c/a>, Carlos Francisco Jackson and a legion of others — were invited to create works in response to the posters, depicting Xicanx lore as not just something of the past, but of the current moment and beyond.\u003c/p>\n\u003cp>Jimenez Underwood confronts borders, military violence, displacement, migration and territorial conflict with a massive, site-specific contribution that spans the entirety of the exhibit’s largest wall with a multimedia mural. Jackson revisits the violence of the National Chicano Moratorium in 1970 with a silkscreen print.\u003c/p>\n\u003cp>Nearby, an original prose excerpt from Luis Valdez — a pivotal Xicanx playwright who founded Teatro Campesino in 1965 during the rise of United Farm Workers — is displayed within a case. His words outline the dualities of Xicanismo: “sentimental and cynical, fierce and docile, faithful and treacherous, individualistic and herd-following, in love with life and obsessed with death.” \u003ci>Calli\u003c/i> is all of this, at once, in a swirl of mediums, fabrics, textures and generational perspectives.\u003c/p>\n\u003cp>One of the expansive show’s highlights is its emphasis on queer and feminist Xicanx perspectives. Through photography, digital prints and various installations (video, audio and otherwise) viewers are presented with an alternative lens through which to understand the Xicanx pursuit of place and comfort within the largely patriarchal culture of Mexican machismo.\u003c/p>\n\u003cfigure id=\"attachment_13959838\" class=\"wp-caption alignnone\" style=\"max-width: 1945px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-scaled.jpg\" alt=\"a Chicano Rights Movement poster features the faces of two women joined by a flower in the middle\" width=\"1945\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-scaled.jpg 1945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-800x1053.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1020x1342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1167x1536.jpg 1167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1556x2048.jpg 1556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1920x2527.jpg 1920w\" sizes=\"(max-width: 1945px) 100vw, 1945px\">\u003cfigcaption class=\"wp-caption-text\">A Chicano Rights Movement poster. \u003ccite>(OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “autodenominación” (or act of self-naming) is an intuitive, if not necessary survivalism, that many Xicanx folks have had to perfect in dealing with not only racism, but homophobia. In a stunning subversion of machismo, a large Manuel Paul print shows two Xicanx men wrapped around one another behind a pickup truck, lips touching lips, with the well-known iconography of Mexican masculinity surrounding them (such as a bootleg \u003ci>Calvin and Hobbes\u003c/i> sticker in which Calvin is wearing a cowboy hat and taking a piss — a classic Mexican pick-up truck adornment).\u003c/p>\n\u003cp>Like the very Xicanx people the galleries are attempting to present, however, it is impossible to express each singular experience in all of its fullness. Rather than dig deep into one particular iteration of Xicanismo, \u003ci>Calli\u003c/i> opts to widen the spectrum, and thus, visitors are more likely to miss a particular angle or texture on display.\u003c/p>\n\u003cp>But isn’t that how one always feels when walking away from the most captivating art spaces? With more questions and desires to know? \u003ci>Calli\u003c/i> is only a beginning point. At its best, it offers the biggest invitation into the chaotic, healing vortex of Xicanx consciousness that any local museum could hope for. Being Mexican American is tough; but it’s also endlessly freeing to examine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">Calli: The Art of Xicanx Peoples\u003c/a>’ is on view June 14, 2024–Jan. 26, 2025 at the Oakland Museum of California.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959827/calli-the-art-of-xicanx-peoples-omca-latinx-review","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_3419","arts_10342","arts_10278","arts_5747","arts_3226","arts_21830","arts_585"],"featImg":"arts_13959839","label":"arts_140"},"arts_13959669":{"type":"posts","id":"arts_13959669","meta":{"index":"posts_1716263798","site":"arts","id":"13959669","score":null,"sort":[1718224460000]},"guestAuthors":[],"slug":"the-laundromat-pizza-outer-richmond-musicians-bands-staff","title":"Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond","publishDate":1718224460,"format":"audio","headTitle":"Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond | KQED","labelTerm":{},"content":"\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection, dough and industry advice are thrown and caught, band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"At The Laundromat, a musician-friendly staff supports each other behind the counter — and on stage.","status":"publish","parent":0,"modified":1720970586,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1493},"headData":{"title":"At The Laundromat, Your Favorite Musician Is Also Your Server | KQED","description":"A musician-friendly staff at the Outer Richmond pizza restaurant supports each other behind the counter — and on stage.","ogTitle":"Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond","ogDescription":"At The Laundromat, a musician-friendly staff supports each other behind the counter — and on stage.","ogImgId":"","twTitle":"Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond","twDescription":"At The Laundromat, a musician-friendly staff supports each other behind the counter — and on stage.","twImgId":"","socialTitle":"At The Laundromat, Your Favorite Musician Is Also Your Server %%page%% %%sep%% KQED","socialDescription":"A musician-friendly staff at the Outer Richmond pizza restaurant supports each other behind the counter — and on stage.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond","datePublished":"2024-06-12T13:34:20-07:00","dateModified":"2024-07-14T08:23:06-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/c29e5579-1ff6-4ed2-bfc0-b1a50113d20b/audio.mp3","sticky":false,"nprStoryId":"kqed-13959669","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959669/the-laundromat-pizza-outer-richmond-musicians-bands-staff","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection, dough and industry advice are thrown and caught, band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959669/the-laundromat-pizza-outer-richmond-musicians-bands-staff","authors":["11603"],"categories":["arts_1","arts_12276","arts_69","arts_235"],"tags":["arts_22185","arts_10342","arts_10278","arts_21788","arts_14730","arts_1146"],"featImg":"arts_13959562","label":"source_arts_13959669"},"arts_13959370":{"type":"posts","id":"arts_13959370","meta":{"index":"posts_1716263798","site":"arts","id":"13959370","score":null,"sort":[1717703388000]},"guestAuthors":[],"slug":"for-these-young-latino-voters-its-neither-biden-nor-trump","title":"For These Young Latino Voters, It’s Neither Biden nor Trump","publishDate":1717703388,"format":"standard","headTitle":"For These Young Latino Voters, It’s Neither Biden nor Trump | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On a recent Sunday in June, thousands of fans watched rock en español legends La Maldita Vecindad at the first-ever \u003ca href=\"https://www.kqed.org/arts/13959079/photos-la-onda-festival-recap-napa\">Festival La Onda\u003c/a> held at the Napa Valley Expo.\u003c/p>\n\u003cp>Dressed head-to-toe in \u003ca href=\"https://www.bbc.com/travel/article/20230913-pachucos-the-latinx-subculture-that-defied-the-us\">old-school pachuco gear\u003c/a>, the band’s frontman Roco sang a verse from “Los Agachados,” an upbeat song dedicated to eating warm, delicious food while recovering from a hangover. On another stage, Yahritza y Su Esencia, a young group of Mexican American siblings from Washington state, dove into the chorus of “Soy el Único,” a soulful corrido of heartbreak.\u003c/p>\n\u003cp>[aside postID='arts_13955679']Meanwhile, fans ran back and forth, trying to hear both groups, underscoring a new reality about the exploding popularity of Latin music. Its listeners aren’t limited by one genre, be it regional mexicano, rock en español, reggaetón, Latin house or indie.\u003c/p>\n\u003cp>In other words, their musical taste is not a monolith — and neither are their politics.\u003c/p>\n\u003cp>That hasn’t stopped both the Biden and Trump campaigns from \u003ca href=\"https://www.miamiherald.com/news/local/news-columns-blogs/fabiola-santiago/article287165135.html\">employing a one-size-fits-all strategy to court Latino voters\u003c/a>. Every four years, campaign managers and pundits talk about \u003ca href=\"https://www.kqed.org/news/11857451/deconstructing-the-latino-vote-myths-realities-and-missed-opportunities\">the “Latino vote,”\u003c/a> a mythical term meant to predict the political preferences of over 63 million people from a variety of nationalities, races, religions and lived experiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At La Onda, KQED spoke to dozens of music fans to better understand the variety of issues Latinos in California are balancing in this election year.\u003c/p>\n\u003cfigure id=\"attachment_13959185\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Arana poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When lifelong Napa resident Natalie Arana heard that a Latino music festival was coming to town, she immediately signed up for the ticket presale. “It made me very happy that they’re finally doing something for us. … We are honestly the ones that make this place run,” Arana said, referring to the wine industry’s largely Latino and Indigenous labor force, including many in her family.\u003c/p>\n\u003cp>Arana, who spoke to KQED while waiting with her husband and friends for Mexican pop star Danna Paola to begin her set, has been closely following the U.S. presidential election and said she already knows exactly how she will vote.\u003c/p>\n\u003cp>[aside postID='news_11977685']In 2017, her family was impacted when \u003ca href=\"https://www.nytimes.com/2020/06/19/us/politics/trump-daca.html\">Trump announced he would end the Deferred Action for Childhood Arrivals (DACA) program\u003c/a>, which provides temporary legal protections to certain undocumented immigrants who were brought to the U.S. while they were minors. “Not having DACA … that affects my husband,” she said, fearful of a Trump victory.\u003c/p>\n\u003cp>As president, Joe Biden has not threatened DACA but has also \u003ca href=\"https://www.politico.com/news/2023/09/13/judge-biden-version-of-daca-illegal-00115816\">failed to ensure permanent legal status for the 530,000 people still in the program\u003c/a>. Arana is now exploring other legal protections for her husband should Trump win in November. The stakes are too high not to take action, she said. “We have two babies.”\u003c/p>\n\u003cp>Arana finds it frustrating that other people choose not to vote. “People are not voting enough,” she said. “And that’s why people like him, who was \u003ca href=\"https://www.kqed.org/news/11988282/former-president-trump-is-found-guilty-in-historic-new-york-criminal-case\">found guilty for dozens of felonies\u003c/a>, are allowed to run for president.”\u003c/p>\n\u003cfigure id=\"attachment_13959181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959181\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Víctor García poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a DACA recipient, Víctor García can’t vote himself, but he’s making sure all his friends do.\u003c/p>\n\u003cp>“Right now, I’m just trying to vocalize what’s happening and tell people, ‘Hey, did you vote? Can you do something for us? We’re here as a community. We’re here to vibe with you guys. We’re here to do our life with you,’” García said.\u003c/p>\n\u003cp>García traveled all the way from the Central Valley for La Onda. For him, “having the Latino community come together this way, it’s amazing.” Standing next to him was his friend Erick Reyes, who said García has helped him better understand the different issues on the ballot this year.\u003c/p>\n\u003cfigure id=\"attachment_13959183\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Erick Reyes poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes said he’s often too busy working to follow every election issue but adds that his job in healthcare has taught him a lot about inequality. In the year and a half, since \u003ca href=\"https://calmatters.org/health/2023/01/hospital-closure/\">Madera County Hospital closed\u003c/a>, he’s witnessed the region’s farmworker families struggle to access basic necessary care.\u003c/p>\n\u003cp>Protecting healthcare services in rural communities matters as a political priority, Reyes said. And for people to get the healthcare they need, he added, “that depends on [what] is available to them.”\u003c/p>\n\u003cfigure id=\"attachment_13959196\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Alberto Ramirez poses for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a \u003ca href=\"https://www.npr.org/2023/12/06/1216150515/keffiyeh-hamas-palestinians-israel-gaza\">red keffiyeh draped over their shoulders\u003c/a>, Carlos Alberto Martínez — who came to La Onda from the East Bay with their partner and family — stands out from the crowd.\u003c/p>\n\u003cp>Martínez was a DACA recipient for several years until they became a citizen about a year ago. But now that they can vote, Martínez said, they’re not supporting any of the presidential candidates. “Biden’s trash … they’re all trash.”\u003c/p>\n\u003cp>“The Democrats haven’t done anything for us,” they said, adding that both the Biden and Obama administrations have deported hundreds of thousands of undocumented immigrants. Most recently, \u003ca href=\"https://apnews.com/article/biden-asylum-migration-immigration-mexico-border-dec5f83b468b5795479bf1f5e49799d5\">Biden announced significant restrictions on migrants seeking asylum\u003c/a> at the southern border.\u003c/p>\n\u003cp>“I have more against them than the Republicans because they’re the ones that failed us and actually had an opportunity,” Martínez said.\u003c/p>\n\u003cfigure id=\"attachment_13959180\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959180\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Cuellar (at right) dances with Yajaira Gonzalez at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vanessa Cuellar from San Francisco has a 10-year record of always voting in elections. But this year, the San Francisco resident said, she doesn’t feel the same passion.\u003c/p>\n\u003cp>“I haven’t been as engaged this year because of the genocide happening in Palestine,” Cuellar said, adding that daily news of \u003ca href=\"https://www.npr.org/2024/05/28/g-s1-1361/rafah-gaza-israel\">Palestinian civilians killed by Israeli forces in Gaza\u003c/a> and the \u003ca href=\"https://www.npr.org/2024/05/28/1197963575/podcast-does-biden-have-a-red-line-on-israels-actions-in-gaza\">Biden administration’s continued backing of Israel\u003c/a> has made it difficult to feel excited about politics.\u003c/p>\n\u003cp>The other side, she said, is no better: throughout his campaign, Trump has promised to double down his support for Israel despite the \u003ca href=\"https://www.npr.org/2024/05/04/1249153712/united-nations-northern-gaza-famine\">humanitarian crisis in Gaza\u003c/a>.\u003c/p>\n\u003cp>[aside postID='news_11983971']“It doesn’t feel fair that our country has the same two options, and we have to pick the lesser evil again,” Cuellar said. “This time around, it’s hard to distinguish the difference.”\u003c/p>\n\u003cp>Cuellar said that even at the festival, surrounded by so many happy fans, it was still hard not to think of the suffering in Gaza. Protecting Palestinian lives aligns with what she and her community stand for, she said.\u003c/p>\n\u003cp>“My friends don’t want to vote, and it’s hard to disagree with them, even when there are many big issues involved in this election like abortion and immigration,” she said. “But unfortunately, everything’s been overshadowed by the genocide.”\u003c/p>\n\u003cp>A \u003ca href=\"https://www.cnn.com/2024/04/29/politics/biden-young-voters-what-matters/index.html\">recent CNN poll\u003c/a> of over 1,200 potential voters found that Trump is leading Biden among voters aged 18-24 by 11 points. Younger voters reported being highly critical of the Biden administration, specifically of its role in Gaza; 81% disapprove of the White House’s handling of the conflict.\u003c/p>\n\u003cfigure id=\"attachment_13959190\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959190\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Isa Alcala poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The high cost of living is also a frustration for young voters. “Everything is just so much more expensive now,” Isa Alcalá said, waiting in line to get food after Chilean indie singer Mon Laferte’s performance. “Regular pay and cost of living — it doesn’t add up.”\u003c/p>\n\u003cp>Alcalá, who came to La Onda from Dixon, works in a Sacramento emergency department. She and her team have had to respond to more drug overdoses over the past few years, she said, and she’s critical of the over-the-counter cost of the opioid overdose-reversing drug Narcan.\u003c/p>\n\u003cp>“It should be free for everyone,” she said. “Why do you have to buy something that’s going to save your life?”\u003c/p>\n\u003cp>Many of the elderly Latino immigrants Alcalá sees in the ER hold off going to the doctor for treatable conditions because they can’t afford the copays, she said. “Our own people avoid it because of the costs,” she said. “If you want to do better for yourself, it takes more money.”\u003c/p>\n\u003cfigure id=\"attachment_13959195\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959195\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Paola Casillas poses for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During Maldita Vecindad’s set, Paola Casillas sat on a blanket with her mom, who first heard them growing up in Mexico and passed her love for the band onto her daughter.\u003c/p>\n\u003cp>They both live in Richmond, where Casillas is very involved in climate justice efforts, working at a nonprofit that provides organic produce to low-income families. She’s also protested the pollution caused by the nearby Chevron refinery, which has been \u003ca href=\"https://www.theguardian.com/environment/2019/oct/09/richmond-chevron-california-city-polluter-fossil-fuel\">linked to the city’s asthma and cancer rates, particularly among families of color\u003c/a>.\u003c/p>\n\u003cp>“It’s frustrating because it’s not just Richmond. It’s a lot of low-income communities that always face those adversities,” Casillas said.\u003c/p>\n\u003cfigure id=\"attachment_13959192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959192\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Paola Casillas (left) and her mother Eugenia Casillas pose for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the presidential candidates appeal to her, she said. In fact, Casillas no longer sees a presidential election as an effective path to change and has refocused on her local community. She advises others to “go to your city council meetings because there’s a lot of things that you can change if you just keep showing up.”\u003c/p>\n\u003cp>Her mom, Eugenia, said she sympathizes with the younger generation, especially regarding the higher cost of living and the consequences of climate change. Like many other immigrants, she said, she came to the United States to find peace, but “we need to almost break our backs to just have a little bit of something,” she said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We have to fight to have both,” she said. “To have peace and to have a good life.”\u003c/p>\n\n","blocks":[],"excerpt":"At La Onda, the Bay Area's biggest Latin music festival, KQED spoke to dozens of Latinos living in the Bay Area on what problems they're dealing with during an election year.","status":"publish","parent":0,"modified":1721856391,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":39,"wordCount":1831},"headData":{"title":"For These Young Latino Voters, It’s Neither Biden nor Trump | KQED","description":"At La Onda, the Bay Area's biggest Latin music festival, KQED spoke to dozens of Latinos living in the Bay Area on what problems they're dealing with during an election year.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"For These Young Latino Voters, It’s Neither Biden nor Trump","datePublished":"2024-06-06T12:49:48-07:00","dateModified":"2024-07-24T14:26:31-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13959370","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959370/for-these-young-latino-voters-its-neither-biden-nor-trump","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Sunday in June, thousands of fans watched rock en español legends La Maldita Vecindad at the first-ever \u003ca href=\"https://www.kqed.org/arts/13959079/photos-la-onda-festival-recap-napa\">Festival La Onda\u003c/a> held at the Napa Valley Expo.\u003c/p>\n\u003cp>Dressed head-to-toe in \u003ca href=\"https://www.bbc.com/travel/article/20230913-pachucos-the-latinx-subculture-that-defied-the-us\">old-school pachuco gear\u003c/a>, the band’s frontman Roco sang a verse from “Los Agachados,” an upbeat song dedicated to eating warm, delicious food while recovering from a hangover. On another stage, Yahritza y Su Esencia, a young group of Mexican American siblings from Washington state, dove into the chorus of “Soy el Único,” a soulful corrido of heartbreak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955679","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Meanwhile, fans ran back and forth, trying to hear both groups, underscoring a new reality about the exploding popularity of Latin music. Its listeners aren’t limited by one genre, be it regional mexicano, rock en español, reggaetón, Latin house or indie.\u003c/p>\n\u003cp>In other words, their musical taste is not a monolith — and neither are their politics.\u003c/p>\n\u003cp>That hasn’t stopped both the Biden and Trump campaigns from \u003ca href=\"https://www.miamiherald.com/news/local/news-columns-blogs/fabiola-santiago/article287165135.html\">employing a one-size-fits-all strategy to court Latino voters\u003c/a>. Every four years, campaign managers and pundits talk about \u003ca href=\"https://www.kqed.org/news/11857451/deconstructing-the-latino-vote-myths-realities-and-missed-opportunities\">the “Latino vote,”\u003c/a> a mythical term meant to predict the political preferences of over 63 million people from a variety of nationalities, races, religions and lived experiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At La Onda, KQED spoke to dozens of music fans to better understand the variety of issues Latinos in California are balancing in this election year.\u003c/p>\n\u003cfigure id=\"attachment_13959185\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Arana poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When lifelong Napa resident Natalie Arana heard that a Latino music festival was coming to town, she immediately signed up for the ticket presale. “It made me very happy that they’re finally doing something for us. … We are honestly the ones that make this place run,” Arana said, referring to the wine industry’s largely Latino and Indigenous labor force, including many in her family.\u003c/p>\n\u003cp>Arana, who spoke to KQED while waiting with her husband and friends for Mexican pop star Danna Paola to begin her set, has been closely following the U.S. presidential election and said she already knows exactly how she will vote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11977685","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In 2017, her family was impacted when \u003ca href=\"https://www.nytimes.com/2020/06/19/us/politics/trump-daca.html\">Trump announced he would end the Deferred Action for Childhood Arrivals (DACA) program\u003c/a>, which provides temporary legal protections to certain undocumented immigrants who were brought to the U.S. while they were minors. “Not having DACA … that affects my husband,” she said, fearful of a Trump victory.\u003c/p>\n\u003cp>As president, Joe Biden has not threatened DACA but has also \u003ca href=\"https://www.politico.com/news/2023/09/13/judge-biden-version-of-daca-illegal-00115816\">failed to ensure permanent legal status for the 530,000 people still in the program\u003c/a>. Arana is now exploring other legal protections for her husband should Trump win in November. The stakes are too high not to take action, she said. “We have two babies.”\u003c/p>\n\u003cp>Arana finds it frustrating that other people choose not to vote. “People are not voting enough,” she said. “And that’s why people like him, who was \u003ca href=\"https://www.kqed.org/news/11988282/former-president-trump-is-found-guilty-in-historic-new-york-criminal-case\">found guilty for dozens of felonies\u003c/a>, are allowed to run for president.”\u003c/p>\n\u003cfigure id=\"attachment_13959181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959181\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Víctor García poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a DACA recipient, Víctor García can’t vote himself, but he’s making sure all his friends do.\u003c/p>\n\u003cp>“Right now, I’m just trying to vocalize what’s happening and tell people, ‘Hey, did you vote? Can you do something for us? We’re here as a community. We’re here to vibe with you guys. We’re here to do our life with you,’” García said.\u003c/p>\n\u003cp>García traveled all the way from the Central Valley for La Onda. For him, “having the Latino community come together this way, it’s amazing.” Standing next to him was his friend Erick Reyes, who said García has helped him better understand the different issues on the ballot this year.\u003c/p>\n\u003cfigure id=\"attachment_13959183\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Erick Reyes poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes said he’s often too busy working to follow every election issue but adds that his job in healthcare has taught him a lot about inequality. In the year and a half, since \u003ca href=\"https://calmatters.org/health/2023/01/hospital-closure/\">Madera County Hospital closed\u003c/a>, he’s witnessed the region’s farmworker families struggle to access basic necessary care.\u003c/p>\n\u003cp>Protecting healthcare services in rural communities matters as a political priority, Reyes said. And for people to get the healthcare they need, he added, “that depends on [what] is available to them.”\u003c/p>\n\u003cfigure id=\"attachment_13959196\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Alberto Ramirez poses for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a \u003ca href=\"https://www.npr.org/2023/12/06/1216150515/keffiyeh-hamas-palestinians-israel-gaza\">red keffiyeh draped over their shoulders\u003c/a>, Carlos Alberto Martínez — who came to La Onda from the East Bay with their partner and family — stands out from the crowd.\u003c/p>\n\u003cp>Martínez was a DACA recipient for several years until they became a citizen about a year ago. But now that they can vote, Martínez said, they’re not supporting any of the presidential candidates. “Biden’s trash … they’re all trash.”\u003c/p>\n\u003cp>“The Democrats haven’t done anything for us,” they said, adding that both the Biden and Obama administrations have deported hundreds of thousands of undocumented immigrants. Most recently, \u003ca href=\"https://apnews.com/article/biden-asylum-migration-immigration-mexico-border-dec5f83b468b5795479bf1f5e49799d5\">Biden announced significant restrictions on migrants seeking asylum\u003c/a> at the southern border.\u003c/p>\n\u003cp>“I have more against them than the Republicans because they’re the ones that failed us and actually had an opportunity,” Martínez said.\u003c/p>\n\u003cfigure id=\"attachment_13959180\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959180\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Cuellar (at right) dances with Yajaira Gonzalez at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vanessa Cuellar from San Francisco has a 10-year record of always voting in elections. But this year, the San Francisco resident said, she doesn’t feel the same passion.\u003c/p>\n\u003cp>“I haven’t been as engaged this year because of the genocide happening in Palestine,” Cuellar said, adding that daily news of \u003ca href=\"https://www.npr.org/2024/05/28/g-s1-1361/rafah-gaza-israel\">Palestinian civilians killed by Israeli forces in Gaza\u003c/a> and the \u003ca href=\"https://www.npr.org/2024/05/28/1197963575/podcast-does-biden-have-a-red-line-on-israels-actions-in-gaza\">Biden administration’s continued backing of Israel\u003c/a> has made it difficult to feel excited about politics.\u003c/p>\n\u003cp>The other side, she said, is no better: throughout his campaign, Trump has promised to double down his support for Israel despite the \u003ca href=\"https://www.npr.org/2024/05/04/1249153712/united-nations-northern-gaza-famine\">humanitarian crisis in Gaza\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11983971","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It doesn’t feel fair that our country has the same two options, and we have to pick the lesser evil again,” Cuellar said. “This time around, it’s hard to distinguish the difference.”\u003c/p>\n\u003cp>Cuellar said that even at the festival, surrounded by so many happy fans, it was still hard not to think of the suffering in Gaza. Protecting Palestinian lives aligns with what she and her community stand for, she said.\u003c/p>\n\u003cp>“My friends don’t want to vote, and it’s hard to disagree with them, even when there are many big issues involved in this election like abortion and immigration,” she said. “But unfortunately, everything’s been overshadowed by the genocide.”\u003c/p>\n\u003cp>A \u003ca href=\"https://www.cnn.com/2024/04/29/politics/biden-young-voters-what-matters/index.html\">recent CNN poll\u003c/a> of over 1,200 potential voters found that Trump is leading Biden among voters aged 18-24 by 11 points. Younger voters reported being highly critical of the Biden administration, specifically of its role in Gaza; 81% disapprove of the White House’s handling of the conflict.\u003c/p>\n\u003cfigure id=\"attachment_13959190\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959190\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Isa Alcala poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The high cost of living is also a frustration for young voters. “Everything is just so much more expensive now,” Isa Alcalá said, waiting in line to get food after Chilean indie singer Mon Laferte’s performance. “Regular pay and cost of living — it doesn’t add up.”\u003c/p>\n\u003cp>Alcalá, who came to La Onda from Dixon, works in a Sacramento emergency department. She and her team have had to respond to more drug overdoses over the past few years, she said, and she’s critical of the over-the-counter cost of the opioid overdose-reversing drug Narcan.\u003c/p>\n\u003cp>“It should be free for everyone,” she said. “Why do you have to buy something that’s going to save your life?”\u003c/p>\n\u003cp>Many of the elderly Latino immigrants Alcalá sees in the ER hold off going to the doctor for treatable conditions because they can’t afford the copays, she said. “Our own people avoid it because of the costs,” she said. “If you want to do better for yourself, it takes more money.”\u003c/p>\n\u003cfigure id=\"attachment_13959195\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959195\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Paola Casillas poses for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During Maldita Vecindad’s set, Paola Casillas sat on a blanket with her mom, who first heard them growing up in Mexico and passed her love for the band onto her daughter.\u003c/p>\n\u003cp>They both live in Richmond, where Casillas is very involved in climate justice efforts, working at a nonprofit that provides organic produce to low-income families. She’s also protested the pollution caused by the nearby Chevron refinery, which has been \u003ca href=\"https://www.theguardian.com/environment/2019/oct/09/richmond-chevron-california-city-polluter-fossil-fuel\">linked to the city’s asthma and cancer rates, particularly among families of color\u003c/a>.\u003c/p>\n\u003cp>“It’s frustrating because it’s not just Richmond. It’s a lot of low-income communities that always face those adversities,” Casillas said.\u003c/p>\n\u003cfigure id=\"attachment_13959192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959192\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Paola Casillas (left) and her mother Eugenia Casillas pose for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the presidential candidates appeal to her, she said. In fact, Casillas no longer sees a presidential election as an effective path to change and has refocused on her local community. She advises others to “go to your city council meetings because there’s a lot of things that you can change if you just keep showing up.”\u003c/p>\n\u003cp>Her mom, Eugenia, said she sympathizes with the younger generation, especially regarding the higher cost of living and the consequences of climate change. Like many other immigrants, she said, she came to the United States to find peace, but “we need to almost break our backs to just have a little bit of something,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have to fight to have both,” she said. “To have peace and to have a good life.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959370/for-these-young-latino-voters-its-neither-biden-nor-trump","authors":["11708","11384"],"categories":["arts_1","arts_835","arts_69","arts_235"],"tags":["arts_10342","arts_4949","arts_22227","arts_10278","arts_21763","arts_5747"],"featImg":"arts_13959043","label":"arts"},"arts_13958762":{"type":"posts","id":"arts_13958762","meta":{"index":"posts_1716263798","site":"arts","id":"13958762","score":null,"sort":[1717013243000]},"guestAuthors":[],"slug":"who-is-michael-jang-documentary-michael-jacobs-sf-docfest","title":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","publishDate":1717013243,"format":"standard","headTitle":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Michael Jang is an authentic San Francisco character. He is also a gifted photographer. You didn’t know? Michael Jacobs is here to help.\u003c/p>\n\u003cp>Jacobs’ fascinating portrait, \u003cem>\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">Who is Michael Jang?\u003c/a>\u003c/em>, has its world premiere Thursday, May 30 at the Roxie on opening night of the San Francisco Documentary Film Festival (aka SF DocFest). The screening shapes up to be a raucous celebration of a cult NorCal figure, with Jacobs beaming from the edges of the spotlight. \u003c/p>\n\u003cp>The self-effacing Marin County documentary maker made a splash with his 2007 debut, \u003cem>Audience of One\u003c/em>, the jaw-dropping saga of a Pentecostal minister of a small congregation in the Richmond who declares out of the blue that God has instructed him to make a film. Not a homemade inspirational parable, however, but a multimillion-dollar sci-fi epic.\u003c/p>\n\u003cp>Since its long-ago festival run \u003cem>Audience of One\u003c/em> has only been available as a hard-to-find DVD — it’s never been licensed to a streaming platform — yet it’s one of those docs that sticks in the memory. That’s a Michael Jacobs trademark: audiences forget his name but not his characters and stories. (His 2014 short doc \u003cem>The High Five\u003c/em> honored gay major league ballplayer Glenn Burke, who introduced the high five celebration with Dodger teammate Dusty Baker in 1977.)\u003c/p>\n\u003cfigure id=\"attachment_13958812\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg\" alt='Man sits at bus stop with hands in pockets, wheat paste of \"JANG\" poster above him on wall' width=\"2560\" height=\"1920\" class=\"size-full wp-image-13958812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The artist Michael Jang in a still from ‘Who is Michael Jang?’ \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs met Jang when they shared the bill at a Pop-Up Magazine show in 2015. Jacobs and Barry Jenkins (pre-\u003cem>Moonlight\u003c/em>) presented a short, \u003cem>Boxing Gym\u003c/em>, they shot in Oakland. Jang showed some of the headshots he took of local contestants trying out to be meteorologists for a local newscast in the late 1980s (which are included, thankfully, in \u003cem>Who is Michael Jang?\u003c/em>). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He presented the \u003cem>Summer Weather\u003c/em> images and told this very, very funny and endearing and engaging story about how he came to take these pictures and the different types of people that showed up,” Jacobs recalls. “I was just immediately captivated by his images and by his personality.”\u003c/p>\n\u003cp>One of the themes of \u003cem>Who is Michael Jang?\u003c/em> is the artist’s frustration at not being recognized early on for a remarkable body of work that encompassed punk shows, Asian American protests and family get-togethers (that magically transcend personal mementos). Jang encountered discrimination as a Chinese American photographer, and his subsequent decision to focus on commercial photography to support his family essentially took him off the radar for curators and critics.\u003c/p>\n\u003cp>Plenty of artists would have used an introduction like the Pop-Up Magazine encounter to pitch themselves to Jacobs as a documentary subject. But not Michael Jang.\u003c/p>\n\u003cp>“I’m not sure what occurs to him and what doesn’t when it comes to the ways in which he wants to share his work with the world,” Jacobs says. “I think he’s always been more focused on being recognized in fine art settings and museum and gallery settings.”\u003c/p>\n\u003cfigure id=\"attachment_13958814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg\" alt=\"Classic car in front of wall of wheatpasted black and white family photos on boarded-up storefront\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13958814\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">An example of Michael Jang’s renegade art displays on the streets of San Francisco. \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic, Jang devised a public art campaign with a caustic thread of sociopolitical commentary. Mining his archives, he created and pasted posters and collages on boarded-up Clement Street storefronts. Jang was responding, in part, to the increase in anti-Asian violence triggered by a certain public figure’s inflammatory description of COVID-19 as “the Chinese virus.”\u003c/p>\n\u003cp>Meanwhile, the fact that the new work repurposed old photographs — bringing the past into the present — may have something to do with why locked-down San Franciscans connected with it. Jang also photographed and posted his street art \u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\">on Instagram\u003c/a>. Enter, or re-enter, Mike Jacobs.\u003c/p>\n\u003cp>“My curiosity was piqued about who this guy is and what exactly he was doing and why I wasn’t more familiar with him,” Jacobs recalls. “And why other people that I knew who paid attention to photography and fine art and culture weren’t familiar with him either.”\u003c/p>\n\u003cp>[aside postID='arts_13958101,arts_13958735' label='More at SF DocFest']\u003cem>Who is Michael Jang?\u003c/em>, which clocks in at an unusual 42 minutes, and airs on PBS this fall or next winter, pulls off the thrilling trick of being an expression of its maker and a work of art in its own right, without upstaging its talented subject. \u003c/p>\n\u003cp>Jacobs and editor Clayton Worfolk mix and match the usual doc elements — a vast array of archival footage, contemporary interviews and verité footage (a downhill run of Jang’s skateboard friends to Ocean Beach, Jang in character and costume as the cigarette-smoking Chef Jang, a cook at Brandon Jew’s Chinatown establishment Mister Jiu’s) — to establish a solid San Francisco backdrop, dissolve time (to erase the distance between the past and the present) and honor the mystery at the core of Jang’s creativity.\u003c/p>\n\u003cp>“We knew Michael’s interview was going to be direct to camera, where the audience was going to get the opportunity to meet his eye and look at him in that one-on-one relationship,” Jacobs explains. “With the other [interview] subjects, we decided that black-and-white would be a nod to his still photography and the way he created these beautiful Leica snapshots. It also supported the transitions to archival through different eras of storytelling.” \u003c/p>\n\u003cp>The documentary incorporates 8mm and 16mm film reels from Jang’s childhood; family photographs from the 1950s and ’60s; as well as his fine art photography from the ’70s, ’80s and ’90s. Along with introducing Jang to audiences who didn’t know him, Jacobs was determined to provide fresh context and new information for people who are familiar with the photographer’s work.\u003c/p>\n\u003cp>“Some of these scenes are a bit more out of context from a traditional biographical documentary, skateboarding or the kitchen scene,” he notes. “They are small moments but they illustrate the real visceral immediacy of an artist living, working, breathing in the city. And some of the things he reveals in the storytelling, whether it’s his kids or things he talks about at the end of the film, those are things that he’s probably shared with very few people.”\u003c/p>\n\u003cp>https://vimeo.com/946766672\u003c/p>\n\u003cp>Arguably the most thought-provoking element, though, is Jang’s recurring performance as Chef Jang. It’s an important piece of the documentary, denoting Jang’s collaboration with the filmmaker while conveying his autonomy and authority.\u003c/p>\n\u003cp>“It’s very difficult working with a living artist because they’re very particular — with good reason — about the ways in which they’re being perceived,” Jacobs says. “Michael’s had articles written about him, he’s had gallery shows and his work is featured in museums, but a documentary’s different. It’s going to be how I want the audience to perceive his life and times. We’re going to make choices that he may not like or agree with. \u003c/p>\n\u003cp>“That’s a delicate, delicate balance with a documentary subject who has never really been exposed in this way,” Jacobs continues. “I really empathize with that. Being an artist is already living with a certain amount of vulnerability, and that vulnerability is only heightened with cameras and filmmakers.”\u003c/p>\n\u003cp>Jacobs developed a level of trust with Jang that is palpable on screen. Yes, they bonded as visual artists — voyeurs — who shoot and interpret real life. But they also share a private childish joy at circumventing the gatekeepers. \u003c/p>\n\u003cp>“Something that I love about Michael, that he says early in the film, is he and I absolutely can relate to each other [because] he was sneaking into places to take pictures where he wasn’t permitted,” Jacobs says. “With documentary I sometimes feel the same. The camera and the project is providing me a mechanism for access to a world that I wouldn’t necessarily be invited to, and I wouldn’t necessarily be a part of in my everyday life.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Who is Michael Jang?’ screens with ‘Kim Jong, Alfaman and The Probe: A LeMons Race’ at 8:30 p.m. and 10:30 p.m. on Thursday, May 30 at the Roxie Theater as part of \u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">SF DocFest\u003c/a>. It is also available to stream online May 30–June 9, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Michael Jacobs’ portrait of the San Francisco photographer is both kinetic and timeless.","status":"publish","parent":0,"modified":1717100630,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1472},"headData":{"title":"‘Who is Michael Jang?’ Premieres at SF DocFest | KQED","description":"Michael Jacobs’ portrait of the San Francisco photographer is both kinetic and timeless.","ogTitle":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","ogDescription":"","ogImgId":"","twTitle":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","twDescription":"","twImgId":"","socialTitle":"‘Who is Michael Jang?’ Premieres at SF DocFest %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","datePublished":"2024-05-29T13:07:23-07:00","dateModified":"2024-05-30T13:23:50-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958762","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Jang is an authentic San Francisco character. He is also a gifted photographer. You didn’t know? Michael Jacobs is here to help.\u003c/p>\n\u003cp>Jacobs’ fascinating portrait, \u003cem>\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">Who is Michael Jang?\u003c/a>\u003c/em>, has its world premiere Thursday, May 30 at the Roxie on opening night of the San Francisco Documentary Film Festival (aka SF DocFest). The screening shapes up to be a raucous celebration of a cult NorCal figure, with Jacobs beaming from the edges of the spotlight. \u003c/p>\n\u003cp>The self-effacing Marin County documentary maker made a splash with his 2007 debut, \u003cem>Audience of One\u003c/em>, the jaw-dropping saga of a Pentecostal minister of a small congregation in the Richmond who declares out of the blue that God has instructed him to make a film. Not a homemade inspirational parable, however, but a multimillion-dollar sci-fi epic.\u003c/p>\n\u003cp>Since its long-ago festival run \u003cem>Audience of One\u003c/em> has only been available as a hard-to-find DVD — it’s never been licensed to a streaming platform — yet it’s one of those docs that sticks in the memory. That’s a Michael Jacobs trademark: audiences forget his name but not his characters and stories. (His 2014 short doc \u003cem>The High Five\u003c/em> honored gay major league ballplayer Glenn Burke, who introduced the high five celebration with Dodger teammate Dusty Baker in 1977.)\u003c/p>\n\u003cfigure id=\"attachment_13958812\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg\" alt='Man sits at bus stop with hands in pockets, wheat paste of \"JANG\" poster above him on wall' width=\"2560\" height=\"1920\" class=\"size-full wp-image-13958812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The artist Michael Jang in a still from ‘Who is Michael Jang?’ \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs met Jang when they shared the bill at a Pop-Up Magazine show in 2015. Jacobs and Barry Jenkins (pre-\u003cem>Moonlight\u003c/em>) presented a short, \u003cem>Boxing Gym\u003c/em>, they shot in Oakland. Jang showed some of the headshots he took of local contestants trying out to be meteorologists for a local newscast in the late 1980s (which are included, thankfully, in \u003cem>Who is Michael Jang?\u003c/em>). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He presented the \u003cem>Summer Weather\u003c/em> images and told this very, very funny and endearing and engaging story about how he came to take these pictures and the different types of people that showed up,” Jacobs recalls. “I was just immediately captivated by his images and by his personality.”\u003c/p>\n\u003cp>One of the themes of \u003cem>Who is Michael Jang?\u003c/em> is the artist’s frustration at not being recognized early on for a remarkable body of work that encompassed punk shows, Asian American protests and family get-togethers (that magically transcend personal mementos). Jang encountered discrimination as a Chinese American photographer, and his subsequent decision to focus on commercial photography to support his family essentially took him off the radar for curators and critics.\u003c/p>\n\u003cp>Plenty of artists would have used an introduction like the Pop-Up Magazine encounter to pitch themselves to Jacobs as a documentary subject. But not Michael Jang.\u003c/p>\n\u003cp>“I’m not sure what occurs to him and what doesn’t when it comes to the ways in which he wants to share his work with the world,” Jacobs says. “I think he’s always been more focused on being recognized in fine art settings and museum and gallery settings.”\u003c/p>\n\u003cfigure id=\"attachment_13958814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg\" alt=\"Classic car in front of wall of wheatpasted black and white family photos on boarded-up storefront\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13958814\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">An example of Michael Jang’s renegade art displays on the streets of San Francisco. \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic, Jang devised a public art campaign with a caustic thread of sociopolitical commentary. Mining his archives, he created and pasted posters and collages on boarded-up Clement Street storefronts. Jang was responding, in part, to the increase in anti-Asian violence triggered by a certain public figure’s inflammatory description of COVID-19 as “the Chinese virus.”\u003c/p>\n\u003cp>Meanwhile, the fact that the new work repurposed old photographs — bringing the past into the present — may have something to do with why locked-down San Franciscans connected with it. Jang also photographed and posted his street art \u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\">on Instagram\u003c/a>. Enter, or re-enter, Mike Jacobs.\u003c/p>\n\u003cp>“My curiosity was piqued about who this guy is and what exactly he was doing and why I wasn’t more familiar with him,” Jacobs recalls. “And why other people that I knew who paid attention to photography and fine art and culture weren’t familiar with him either.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958101,arts_13958735","label":"More at SF DocFest "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Who is Michael Jang?\u003c/em>, which clocks in at an unusual 42 minutes, and airs on PBS this fall or next winter, pulls off the thrilling trick of being an expression of its maker and a work of art in its own right, without upstaging its talented subject. \u003c/p>\n\u003cp>Jacobs and editor Clayton Worfolk mix and match the usual doc elements — a vast array of archival footage, contemporary interviews and verité footage (a downhill run of Jang’s skateboard friends to Ocean Beach, Jang in character and costume as the cigarette-smoking Chef Jang, a cook at Brandon Jew’s Chinatown establishment Mister Jiu’s) — to establish a solid San Francisco backdrop, dissolve time (to erase the distance between the past and the present) and honor the mystery at the core of Jang’s creativity.\u003c/p>\n\u003cp>“We knew Michael’s interview was going to be direct to camera, where the audience was going to get the opportunity to meet his eye and look at him in that one-on-one relationship,” Jacobs explains. “With the other [interview] subjects, we decided that black-and-white would be a nod to his still photography and the way he created these beautiful Leica snapshots. It also supported the transitions to archival through different eras of storytelling.” \u003c/p>\n\u003cp>The documentary incorporates 8mm and 16mm film reels from Jang’s childhood; family photographs from the 1950s and ’60s; as well as his fine art photography from the ’70s, ’80s and ’90s. Along with introducing Jang to audiences who didn’t know him, Jacobs was determined to provide fresh context and new information for people who are familiar with the photographer’s work.\u003c/p>\n\u003cp>“Some of these scenes are a bit more out of context from a traditional biographical documentary, skateboarding or the kitchen scene,” he notes. “They are small moments but they illustrate the real visceral immediacy of an artist living, working, breathing in the city. And some of the things he reveals in the storytelling, whether it’s his kids or things he talks about at the end of the film, those are things that he’s probably shared with very few people.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"946766672"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arguably the most thought-provoking element, though, is Jang’s recurring performance as Chef Jang. It’s an important piece of the documentary, denoting Jang’s collaboration with the filmmaker while conveying his autonomy and authority.\u003c/p>\n\u003cp>“It’s very difficult working with a living artist because they’re very particular — with good reason — about the ways in which they’re being perceived,” Jacobs says. “Michael’s had articles written about him, he’s had gallery shows and his work is featured in museums, but a documentary’s different. It’s going to be how I want the audience to perceive his life and times. We’re going to make choices that he may not like or agree with. \u003c/p>\n\u003cp>“That’s a delicate, delicate balance with a documentary subject who has never really been exposed in this way,” Jacobs continues. “I really empathize with that. Being an artist is already living with a certain amount of vulnerability, and that vulnerability is only heightened with cameras and filmmakers.”\u003c/p>\n\u003cp>Jacobs developed a level of trust with Jang that is palpable on screen. Yes, they bonded as visual artists — voyeurs — who shoot and interpret real life. But they also share a private childish joy at circumventing the gatekeepers. \u003c/p>\n\u003cp>“Something that I love about Michael, that he says early in the film, is he and I absolutely can relate to each other [because] he was sneaking into places to take pictures where he wasn’t permitted,” Jacobs says. “With documentary I sometimes feel the same. The camera and the project is providing me a mechanism for access to a world that I wouldn’t necessarily be invited to, and I wouldn’t necessarily be a part of in my everyday life.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Who is Michael Jang?’ screens with ‘Kim Jong, Alfaman and The Probe: A LeMons Race’ at 8:30 p.m. and 10:30 p.m. on Thursday, May 30 at the Roxie Theater as part of \u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">SF DocFest\u003c/a>. It is also available to stream online May 30–June 9, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_70"],"tags":["arts_21958","arts_10342","arts_10278","arts_822","arts_585"],"featImg":"arts_13867630","label":"arts_140"},"arts_13958438":{"type":"posts","id":"arts_13958438","meta":{"index":"posts_1716263798","site":"arts","id":"13958438","score":null,"sort":[1716505164000]},"guestAuthors":[],"slug":"swagger-like-us-queer-hip-hop-nightlife-san-francisco","title":"How Swagger Like Us Pushed Queer Hip-Hop Forward in SF","publishDate":1716505164,"format":"standard","headTitle":"How Swagger Like Us Pushed Queer Hip-Hop Forward in SF | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>[dropcap]O[/dropcap]n July 29, 2012, a family function was born on the patio of San Francisco’s El Rio.\u003c/p>\n\u003cp>Rapper MicahTron, who grew up in Hunters Point, struck a pose onstage in a silk bomber jacket, encouraging an ecstatic queer crowd sporting shaved sides, crop tops and improbably tight denim to “\u003ca href=\"https://soundcloud.com/micahtron/use-it-like-a-bumper-2\">back it up, use it like a bumper\u003c/a>.” Her set followed a wraithlike performance by Tosh Basco, formerly known as boychild, an art star of the freak-drag movement that enraptured the city. Basco entranced the audience in a neon-green look consisting of little more than fishnets and happy face stickers. The event’s co-mastermind Kelly Lovemonster generously distributed hugs and booty pops, ensuring a certain atmosphere in their whisper of a gray tank top.\u003c/p>\n\u003cp>“We did this because we wanted to support our community,” says Lovemonster, who is now living on the other side of the world in Australia. “I helped run and produce \u003ca href=\"https://www.swaggersf.com/\">Swagger Like Us\u003c/a> because I really thought this was an important space to hold.”\u003c/p>\n\u003cp>DJs played a joyful, aerobic collection of beats: Club-remixed R&B divas rubbed up against queer artists from niche subgenres of the nationwide hip-hop diaspora. The event’s namesake, the chest-out line from M.I.A.’s “\u003ca href=\"https://www.youtube.com/watch?v=ewRjZoRtu0Y\">Paper Planes\u003c/a>” that \u003ca href=\"https://youtu.be/Im4tnRlJcXc?si=IHAkMCPr19JLJBwc\">Jay-Z and T.I. had spun into their own banger\u003c/a>, boomed out over the lemon trees that flanked the neighborhood bar’s dance floor. \u003cem>No one on the corner has swagger like us\u003c/em>, indeed.\u003c/p>\n\u003cp>Twelve years later, Swagger Like Us is now wrapping up its monthly format with a finale at El Rio on June 2. On a giggly, time-zone-spanning video call I had with the party’s two co-founders, Lovemonster brings up some thoughts occasioned by chapters on Black San Francisco in David Talbot’s history book \u003cem>Season of the Witch\u003c/em>. “I was thinking about places like the Fillmore and thinking of Swagger as a space for Black folks, and Black queer folks in particular, to say that we still exist,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13958452\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958452\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from a truly significant decade-plus of supporting the financial viability of queer hip-hop artists, this may well be Swagger’s true legacy in a city that has largely failed to hold the line for its Black community. “A space for us to congregate, a space for us to celebrate,” they smile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That long-ago debut twirl took place years before Swagger started selling out 1,000-person venues with indelible Pride events featuring larger-than-life allies like Trina and Leikeli47. But if you knew, you knew: Those of us who attended that first edition could absolutely clock a new chapter in queer San Francisco hip-hop history.\u003c/p>\n\u003cp>As Swagger’s finale approaches, it seems like a good moment to reflect on what the party has meant for its artists and attendees. (This may not mean goodbye forever: Organizers hint that they might be back in the future for special events.)\u003c/p>\n\u003cp>[dropcap]“T[/dropcap]he community that has formed around Swagger Like Us is nothing short of beautiful, vibrant, colorful and inclusive. It’s been a beautiful journey, and I feel incredibly humbled by the trust that David and Kelly have placed in me,” says acclaimed vogue dancer and queer socialite \u003ca href=\"https://www.instagram.com/sirjoq/?hl=en\">Jocquese Whitfield\u003c/a>, who has been hosting the party since that way-back first edition.\u003c/p>\n\u003cfigure id=\"attachment_13958450\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958450\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jocquese Whitfield at Swagger Like Us in 2018. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party’s debut came mere months after a little-known “\u003ca href=\"https://www.youtube.com/watch?v=bC6gTNKl-ak\">212\u003c/a>” ingénue named Azealia Banks nonchalantly told \u003cem>The New York Times\u003c/em> she was a bisexual. This was years before Lil Nas X came out with his 2019 track “\u003ca href=\"https://www.youtube.com/watch?v=eLgxYjZEflI\">C7osure\u003c/a>,” a release that arguably \u003ca href=\"https://www.revolt.tv/article/2019-07-05/93134/lil-nas-x-on-the-backlash-of-confirming-his-sexuality-im-not-angry-or-anything\">ushered in the era of the mainstream gay rapper\u003c/a>.\u003c/p>\n\u003cp>Nowadays, queer hip-hop has taken definite steps out of the underground. Streaming algorithms suggest \u003ca href=\"https://www.autostraddle.com/the-sounds-of-gen-z-five-queer-rappers-making-waves/\">LGBTQ+ performers\u003c/a> like Doechii and Ice Spice, and veteran MCs Queen Latifah and Da Brat have finally gone public with their decided lack of heterosexuality, to the delight of legions.\u003c/p>\n\u003cp>Swagger was born to book queer hip-hop’s rising stars long before the majors were ready. On national tours as one half of the queer electro-pop duo \u003ca href=\"https://www.instagram.com/doubleduchess/\">Double Duchess\u003c/a>, davOmakesbeats realized their home of San Francisco lacked inclusive, Black and Brown community functions that would “get” the lyrics and moves he and Krylon Superstar were delivering on stage. davO’s own Caucasity aside, the beats-obsessed, Maryland-born DJ wanted to feel that energy in his adopted City by the Bay.\u003c/p>\n\u003cp>“When I came to California, I would play Baltimore club tracks and no one would know what they were,” remembers davO, who was also the founder of the sweaty Chinatown basement party Blood Sweat and Queers. “I didn’t get it. I was like, ‘Not everybody listens to this?’”\u003c/p>\n\u003cfigure id=\"attachment_13958451\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958451\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">India Sky performs at Swagger Like Us in 2019. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it’s queer, immaculate vibes you’re looking for, you could do much worse than seek out davO’s eventual collaborator, Lovemonster. The multi-hyphenate creative with Haitian roots started producing events with their “Love canvases,” paint-spattered, clothing-optional performance-happenings they convened while attending their home state of New Jersey’s Rutgers University.\u003c/p>\n\u003cp>Today, they are successful curator and party producer in Sydney, Australia, where they live with their partner Spencer Dezart-Smith (a.k.a. boyfriend) — one of the founding DJs of Swagger Like Us — and their son. True to form, one of Lovemonster’s current events, Leak Your Own Nudes, is an underwear party. By the time they came together with davO over starting a new monthly function, Lovemonster was already a local nightlife heartthrob who curated the inclusive and foxy “go-go babes” at El Rio’s marquee soul music Saturday afternoon monthly, Hard French.\u003c/p>\n\u003cp>[dropcap]I[/dropcap] see now that this was one of the many golden ages of SF queer nightlife. In the early ’10s, you could drink affordably potent cocktails while grinding with sexy weirdos every night of the week: DJ Stanley Frank’s Viennetta Discotheque on Mondays, High Fantasy at Aunt Charlie’s on Tuesdays, Booty Call Wednesdays at Q Bar, Thursday nights at DJ Bus Station John’s Tubesteak Connection and avant-garde drag cabaret Club Something on Fridays at The Stud’s original location.\u003c/p>\n\u003cp>After a breakup, I wound up living with Lovemonster, Hard French promoter Tom Temprano and a passel of other sparkly queers and their pets in a ramshackle flat on South Van Ness Avenue. An easy drunken stumble from El Rio, our lair was the designated after for, uh, releasing the energy of the bar’s daylight-hour parties. Despite a preponderance of shenanigans, we all got along surprisingly lovingly. The last of us didn’t leave that house until many years later, when the front staircase collapsed.\u003c/p>\n\u003cp>[aside postid='arts_13938947']Even amid so much festivity, Swagger filled a void. Nearly every decade since hip-hop’s birth, Bay Area queers have made space in a genre that, much like the world at large, is all too often hampered by heteronormative rigidity. In the ’80s, Page Hodel’s The Box hosted Queen Latifah, over three decades before she came out officially. In the ’90s, DJ Olga T gave birth to the eternal (27+ years running!) Mango at El Rio. Juba Kalamka of Deep Dickollective produced the first edition of the PeaceOUT World Homo Hop Festival in 2001, and in 2003, Oakland’s electric fundraiser-dance-party Ships in the Night set sail.\u003c/p>\n\u003cp>Though Swagger is indubitably part of this proud legacy, its founders were more focused on creating a proper Bay Area stop for the countrywide queer hip-hop circuit. Their first edition featured local nightlife stars, but the crew was soon introducing growing crowds to their next Soundcloud addictions. Early lineups featured Nola bounce queens Katey Red and Sissy Nobby; UNIIQU3’s defiant Jersey club; NYC ballroom giants MikeQ and Byrell the Great; Baltimore rappers DDm and TT the Artist; and the cadre of brilliant queer hip-hop artists who at the time always seemed painfully close to breaking the genre’s glass ceiling: Le1f, Zebra Katz, Cakes Da Killa and even Princess Nokia, who delivered an early performance of “Tomboy” to the Swagger crowd at Oasis.\u003c/p>\n\u003cfigure id=\"attachment_13958453\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of these names are now Bay Area party regulars. At least in part, that’s due to their initial Swagger bookings. Eventually, the sound expanded to run the gamut of Black-rooted genres, including baile funk, the reggaeton of Mexico City’s Rosa Pistola and Latin club. The CDMX party I hosted (I’m telling you, it runs in the family), Traición, came up for a Swagger crossover Folsom Street Fair afterparty in 2017.\u003c/p>\n\u003cp>“It was the first time that I had been welcomed by a space that was so queer and Black,” remembers Saturn Risin9. The Hercules-raised performer had come up through what she calls San Francisco’s “universal” nightlife spaces, all-comer dance parties like Lights Down Low and Blow Up. “But at that time, I needed to connect with people like me,” she continues.\u003c/p>\n\u003cp>Swagger was there at every shift in her career, providing a stage for Saturn’s early, elaborate choreographies and eventually, her sets of breathy, club-ready R&B tracks that davO produced on \u003ca href=\"https://www.sfchronicle.com/music/article/Molly-House-Records-aims-to-take-LGBTQ-artists-11100671.php\">Molly House Records\u003c/a>, founded in 2017 to provide yet more amplification for the party’s talented collaborators. “It was a beautiful space for me to find ways to nurture others, and find out how I needed to be nurtured,” she recalls.\u003c/p>\n\u003cp>“It felt amazing to be celebrated as a Black queer artist in the city that I was born in,” says self-proclaimed “hyphy spiritual” and second-generation San Francisco rapper A.M.K, who adds that her Swagger appearances netted her exposure that led to out-of-state gigs. “Swagger Like Us represents the diversity and the love of the Bay Area,” A.M.K concludes.[aside postid='arts_13928057']\u003c/p>\n\u003cp>But throwing a BIPOC hip-hop party in San Francisco has never been all positivity, as generations of promoters who’ve encountered manic police surveillance and hostile venue owners know. Lovemonster recalls an insurance company who jacked up rates for a major event when they found out Swagger’s genre of preference.\u003c/p>\n\u003cp>And the city’s evolution meant many from the event’s original crowd eventually moved out. “The only changes to the party have been by virtue of the city’s changes, which is to be expected,” says davO, who is now back in Maryland working as an addiction counselor and life coach. He left SF in 2018, the same year Lovemonster and boyfriend decamped to start their Australian family.\u003c/p>\n\u003cfigure id=\"attachment_13958454\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in March 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, a younger generation carried on with the show, hosting and eventually becoming the new face of the party. “I think Jocquese and I were synonymous on the Swagger stage because we were its little siblings,” says Saturn. “Like, if davO and Kelly were the Kardashians, we were the Kendall and Kylie.” That they have given new life to Swagger over the last six years reminds me that as one person’s San Francisco recedes, another’s celebration of the city is just starting to pop.\u003c/p>\n\u003cp>But also: “There’s a beginning and end to everything,” says Lovemonster, explaining away the end of the 12-year monthly that provided a place to dance, flirt and link when it was needed most. “Like, it’s just literally the cycle of life.”\u003c/p>\n\u003cp>There are sure to be a few tears when davO spins his classic Swagger closer “Choose Me,” a sweet, sunny Cobra Krames remix of UGK and Outkast’s “Int’l Players Anthem.” (“I just chose everybody!” davO exclaims when asked how the track made it into his heavy rotation.) Still, don’t think the finale of Swagger’s last season at El Rio will have more sad than swag.\u003c/p>\n\u003cp>At least, not according to its headliner, Cakes Da Killa: “I’m honored to be in the mix for the last hurrah, and I hope everyone pulls up and shows out.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-tickets-845752437307\">Swagger Like Us\u003c/a> will host its final monthly edition at El Rio (3158 Mission, San Francisco) on Sunday, June 2, 3-8 p.m. Tickets will be available at the door for $25. There will be an after-party at The Stud (1123-1125 Folsom Street, San Francisco) from 8 p.m.-2 a.m. \u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-the-after-party-tickets-907486976977?aff=oddtdtcreator\">Tickets available online\u003c/a> for $20, $25 at the door. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"As they wrap up a 12-year run, organizers look back a wild and expansive chapter in local nightlife.","status":"publish","parent":0,"modified":1717100591,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":2245},"headData":{"title":"How Swagger Like Us Pushed Queer Hip-Hop Forward in SF | KQED","description":"As they wrap up a 12-year run, organizers look back a wild and expansive chapter in local nightlife.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Swagger Like Us Pushed Queer Hip-Hop Forward in SF","datePublished":"2024-05-23T15:59:24-07:00","dateModified":"2024-05-30T13:23:11-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Caitlin Donohue","nprStoryId":"kqed-13958438","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13958438/swagger-like-us-queer-hip-hop-nightlife-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n July 29, 2012, a family function was born on the patio of San Francisco’s El Rio.\u003c/p>\n\u003cp>Rapper MicahTron, who grew up in Hunters Point, struck a pose onstage in a silk bomber jacket, encouraging an ecstatic queer crowd sporting shaved sides, crop tops and improbably tight denim to “\u003ca href=\"https://soundcloud.com/micahtron/use-it-like-a-bumper-2\">back it up, use it like a bumper\u003c/a>.” Her set followed a wraithlike performance by Tosh Basco, formerly known as boychild, an art star of the freak-drag movement that enraptured the city. Basco entranced the audience in a neon-green look consisting of little more than fishnets and happy face stickers. The event’s co-mastermind Kelly Lovemonster generously distributed hugs and booty pops, ensuring a certain atmosphere in their whisper of a gray tank top.\u003c/p>\n\u003cp>“We did this because we wanted to support our community,” says Lovemonster, who is now living on the other side of the world in Australia. “I helped run and produce \u003ca href=\"https://www.swaggersf.com/\">Swagger Like Us\u003c/a> because I really thought this was an important space to hold.”\u003c/p>\n\u003cp>DJs played a joyful, aerobic collection of beats: Club-remixed R&B divas rubbed up against queer artists from niche subgenres of the nationwide hip-hop diaspora. The event’s namesake, the chest-out line from M.I.A.’s “\u003ca href=\"https://www.youtube.com/watch?v=ewRjZoRtu0Y\">Paper Planes\u003c/a>” that \u003ca href=\"https://youtu.be/Im4tnRlJcXc?si=IHAkMCPr19JLJBwc\">Jay-Z and T.I. had spun into their own banger\u003c/a>, boomed out over the lemon trees that flanked the neighborhood bar’s dance floor. \u003cem>No one on the corner has swagger like us\u003c/em>, indeed.\u003c/p>\n\u003cp>Twelve years later, Swagger Like Us is now wrapping up its monthly format with a finale at El Rio on June 2. On a giggly, time-zone-spanning video call I had with the party’s two co-founders, Lovemonster brings up some thoughts occasioned by chapters on Black San Francisco in David Talbot’s history book \u003cem>Season of the Witch\u003c/em>. “I was thinking about places like the Fillmore and thinking of Swagger as a space for Black folks, and Black queer folks in particular, to say that we still exist,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13958452\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958452\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from a truly significant decade-plus of supporting the financial viability of queer hip-hop artists, this may well be Swagger’s true legacy in a city that has largely failed to hold the line for its Black community. “A space for us to congregate, a space for us to celebrate,” they smile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That long-ago debut twirl took place years before Swagger started selling out 1,000-person venues with indelible Pride events featuring larger-than-life allies like Trina and Leikeli47. But if you knew, you knew: Those of us who attended that first edition could absolutely clock a new chapter in queer San Francisco hip-hop history.\u003c/p>\n\u003cp>As Swagger’s finale approaches, it seems like a good moment to reflect on what the party has meant for its artists and attendees. (This may not mean goodbye forever: Organizers hint that they might be back in the future for special events.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“T\u003c/span>\u003c/p>\u003cp>he community that has formed around Swagger Like Us is nothing short of beautiful, vibrant, colorful and inclusive. It’s been a beautiful journey, and I feel incredibly humbled by the trust that David and Kelly have placed in me,” says acclaimed vogue dancer and queer socialite \u003ca href=\"https://www.instagram.com/sirjoq/?hl=en\">Jocquese Whitfield\u003c/a>, who has been hosting the party since that way-back first edition.\u003c/p>\n\u003cfigure id=\"attachment_13958450\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958450\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jocquese Whitfield at Swagger Like Us in 2018. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party’s debut came mere months after a little-known “\u003ca href=\"https://www.youtube.com/watch?v=bC6gTNKl-ak\">212\u003c/a>” ingénue named Azealia Banks nonchalantly told \u003cem>The New York Times\u003c/em> she was a bisexual. This was years before Lil Nas X came out with his 2019 track “\u003ca href=\"https://www.youtube.com/watch?v=eLgxYjZEflI\">C7osure\u003c/a>,” a release that arguably \u003ca href=\"https://www.revolt.tv/article/2019-07-05/93134/lil-nas-x-on-the-backlash-of-confirming-his-sexuality-im-not-angry-or-anything\">ushered in the era of the mainstream gay rapper\u003c/a>.\u003c/p>\n\u003cp>Nowadays, queer hip-hop has taken definite steps out of the underground. Streaming algorithms suggest \u003ca href=\"https://www.autostraddle.com/the-sounds-of-gen-z-five-queer-rappers-making-waves/\">LGBTQ+ performers\u003c/a> like Doechii and Ice Spice, and veteran MCs Queen Latifah and Da Brat have finally gone public with their decided lack of heterosexuality, to the delight of legions.\u003c/p>\n\u003cp>Swagger was born to book queer hip-hop’s rising stars long before the majors were ready. On national tours as one half of the queer electro-pop duo \u003ca href=\"https://www.instagram.com/doubleduchess/\">Double Duchess\u003c/a>, davOmakesbeats realized their home of San Francisco lacked inclusive, Black and Brown community functions that would “get” the lyrics and moves he and Krylon Superstar were delivering on stage. davO’s own Caucasity aside, the beats-obsessed, Maryland-born DJ wanted to feel that energy in his adopted City by the Bay.\u003c/p>\n\u003cp>“When I came to California, I would play Baltimore club tracks and no one would know what they were,” remembers davO, who was also the founder of the sweaty Chinatown basement party Blood Sweat and Queers. “I didn’t get it. I was like, ‘Not everybody listens to this?’”\u003c/p>\n\u003cfigure id=\"attachment_13958451\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958451\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">India Sky performs at Swagger Like Us in 2019. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it’s queer, immaculate vibes you’re looking for, you could do much worse than seek out davO’s eventual collaborator, Lovemonster. The multi-hyphenate creative with Haitian roots started producing events with their “Love canvases,” paint-spattered, clothing-optional performance-happenings they convened while attending their home state of New Jersey’s Rutgers University.\u003c/p>\n\u003cp>Today, they are successful curator and party producer in Sydney, Australia, where they live with their partner Spencer Dezart-Smith (a.k.a. boyfriend) — one of the founding DJs of Swagger Like Us — and their son. True to form, one of Lovemonster’s current events, Leak Your Own Nudes, is an underwear party. By the time they came together with davO over starting a new monthly function, Lovemonster was already a local nightlife heartthrob who curated the inclusive and foxy “go-go babes” at El Rio’s marquee soul music Saturday afternoon monthly, Hard French.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> see now that this was one of the many golden ages of SF queer nightlife. In the early ’10s, you could drink affordably potent cocktails while grinding with sexy weirdos every night of the week: DJ Stanley Frank’s Viennetta Discotheque on Mondays, High Fantasy at Aunt Charlie’s on Tuesdays, Booty Call Wednesdays at Q Bar, Thursday nights at DJ Bus Station John’s Tubesteak Connection and avant-garde drag cabaret Club Something on Fridays at The Stud’s original location.\u003c/p>\n\u003cp>After a breakup, I wound up living with Lovemonster, Hard French promoter Tom Temprano and a passel of other sparkly queers and their pets in a ramshackle flat on South Van Ness Avenue. An easy drunken stumble from El Rio, our lair was the designated after for, uh, releasing the energy of the bar’s daylight-hour parties. Despite a preponderance of shenanigans, we all got along surprisingly lovingly. The last of us didn’t leave that house until many years later, when the front staircase collapsed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938947","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Even amid so much festivity, Swagger filled a void. Nearly every decade since hip-hop’s birth, Bay Area queers have made space in a genre that, much like the world at large, is all too often hampered by heteronormative rigidity. In the ’80s, Page Hodel’s The Box hosted Queen Latifah, over three decades before she came out officially. In the ’90s, DJ Olga T gave birth to the eternal (27+ years running!) Mango at El Rio. Juba Kalamka of Deep Dickollective produced the first edition of the PeaceOUT World Homo Hop Festival in 2001, and in 2003, Oakland’s electric fundraiser-dance-party Ships in the Night set sail.\u003c/p>\n\u003cp>Though Swagger is indubitably part of this proud legacy, its founders were more focused on creating a proper Bay Area stop for the countrywide queer hip-hop circuit. Their first edition featured local nightlife stars, but the crew was soon introducing growing crowds to their next Soundcloud addictions. Early lineups featured Nola bounce queens Katey Red and Sissy Nobby; UNIIQU3’s defiant Jersey club; NYC ballroom giants MikeQ and Byrell the Great; Baltimore rappers DDm and TT the Artist; and the cadre of brilliant queer hip-hop artists who at the time always seemed painfully close to breaking the genre’s glass ceiling: Le1f, Zebra Katz, Cakes Da Killa and even Princess Nokia, who delivered an early performance of “Tomboy” to the Swagger crowd at Oasis.\u003c/p>\n\u003cfigure id=\"attachment_13958453\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of these names are now Bay Area party regulars. At least in part, that’s due to their initial Swagger bookings. Eventually, the sound expanded to run the gamut of Black-rooted genres, including baile funk, the reggaeton of Mexico City’s Rosa Pistola and Latin club. The CDMX party I hosted (I’m telling you, it runs in the family), Traición, came up for a Swagger crossover Folsom Street Fair afterparty in 2017.\u003c/p>\n\u003cp>“It was the first time that I had been welcomed by a space that was so queer and Black,” remembers Saturn Risin9. The Hercules-raised performer had come up through what she calls San Francisco’s “universal” nightlife spaces, all-comer dance parties like Lights Down Low and Blow Up. “But at that time, I needed to connect with people like me,” she continues.\u003c/p>\n\u003cp>Swagger was there at every shift in her career, providing a stage for Saturn’s early, elaborate choreographies and eventually, her sets of breathy, club-ready R&B tracks that davO produced on \u003ca href=\"https://www.sfchronicle.com/music/article/Molly-House-Records-aims-to-take-LGBTQ-artists-11100671.php\">Molly House Records\u003c/a>, founded in 2017 to provide yet more amplification for the party’s talented collaborators. “It was a beautiful space for me to find ways to nurture others, and find out how I needed to be nurtured,” she recalls.\u003c/p>\n\u003cp>“It felt amazing to be celebrated as a Black queer artist in the city that I was born in,” says self-proclaimed “hyphy spiritual” and second-generation San Francisco rapper A.M.K, who adds that her Swagger appearances netted her exposure that led to out-of-state gigs. “Swagger Like Us represents the diversity and the love of the Bay Area,” A.M.K concludes.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928057","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But throwing a BIPOC hip-hop party in San Francisco has never been all positivity, as generations of promoters who’ve encountered manic police surveillance and hostile venue owners know. Lovemonster recalls an insurance company who jacked up rates for a major event when they found out Swagger’s genre of preference.\u003c/p>\n\u003cp>And the city’s evolution meant many from the event’s original crowd eventually moved out. “The only changes to the party have been by virtue of the city’s changes, which is to be expected,” says davO, who is now back in Maryland working as an addiction counselor and life coach. He left SF in 2018, the same year Lovemonster and boyfriend decamped to start their Australian family.\u003c/p>\n\u003cfigure id=\"attachment_13958454\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in March 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, a younger generation carried on with the show, hosting and eventually becoming the new face of the party. “I think Jocquese and I were synonymous on the Swagger stage because we were its little siblings,” says Saturn. “Like, if davO and Kelly were the Kardashians, we were the Kendall and Kylie.” That they have given new life to Swagger over the last six years reminds me that as one person’s San Francisco recedes, another’s celebration of the city is just starting to pop.\u003c/p>\n\u003cp>But also: “There’s a beginning and end to everything,” says Lovemonster, explaining away the end of the 12-year monthly that provided a place to dance, flirt and link when it was needed most. “Like, it’s just literally the cycle of life.”\u003c/p>\n\u003cp>There are sure to be a few tears when davO spins his classic Swagger closer “Choose Me,” a sweet, sunny Cobra Krames remix of UGK and Outkast’s “Int’l Players Anthem.” (“I just chose everybody!” davO exclaims when asked how the track made it into his heavy rotation.) Still, don’t think the finale of Swagger’s last season at El Rio will have more sad than swag.\u003c/p>\n\u003cp>At least, not according to its headliner, Cakes Da Killa: “I’m honored to be in the mix for the last hurrah, and I hope everyone pulls up and shows out.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-tickets-845752437307\">Swagger Like Us\u003c/a> will host its final monthly edition at El Rio (3158 Mission, San Francisco) on Sunday, June 2, 3-8 p.m. Tickets will be available at the door for $25. There will be an after-party at The Stud (1123-1125 Folsom Street, San Francisco) from 8 p.m.-2 a.m. \u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-the-after-party-tickets-907486976977?aff=oddtdtcreator\">Tickets available online\u003c/a> for $20, $25 at the door. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958438/swagger-like-us-queer-hip-hop-nightlife-san-francisco","authors":["byline_arts_13958438"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_8505","arts_10342","arts_10278","arts_3226","arts_4640","arts_12080","arts_1146"],"featImg":"arts_13958449","label":"arts"},"arts_13958404":{"type":"posts","id":"arts_13958404","meta":{"index":"posts_1716263798","site":"arts","id":"13958404","score":null,"sort":[1716504724000]},"guestAuthors":[],"slug":"bay-area-student-fashion-shows-2024","title":"10 Collections that Stunned at Bay Area Student Fashion Shows","publishDate":1716504724,"format":"aside","headTitle":"10 Collections that Stunned at Bay Area Student Fashion Shows | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Wearable sails, breathtaking knitwear and oversized butterfly sleeves took to the runways during the \u003ca href=\"https://www.kqed.org/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art\">Bay Area’s unofficial fashion week\u003c/a> this month. Undergraduate and graduate students at California College of the Arts, San Francisco State University and the Academy of Art debuted their thesis collections to massive applause and, in the case of one particular collection, gasps. \u003c/p>\n\u003cp>Here are 10 collections from emerging and talented designers that had my jaw on the freakin’ floor — and renewed my excitement for \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">the Bay’s unique fashion scene\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wears a mini dress by student Paulina Aguilar-Rosil during the Pulse Runway Show at SF State on May 13, 2024. The fashion exhibition showcased work by apparel design and merchandising majors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958413\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paulina Aguilar-Rosil’s plaid skirt at the SF State runway. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paulina Aguilar-Rosil’s plaid skirt and her mini dress with an exaggerated bow elicited an audible response from the runway crowd — and for good reason. The SF State student’s bold \u003cem>Pobrecita\u003c/em> collection brought Chicana aesthetics into conversation with Catholic school uniforms. The outcome was a collection that told a captivating story about Aguilar-Rosil’s Los Angeles upbringing, using specific references that made her designs stand out from other, more familiar takes on It Girl styles.\u003c/p>\n\u003cfigure id=\"attachment_13958439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13958439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hand-crocheted looks by Pamela Alcala at the California College of the Arts show on May 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the CCA show, Pamela Alcala’s hand-crocheted collection didn’t just reimagine knitwear — it built an entire world out of brushed wool. Alcala told KQED her looks were a “menswear take on [her] grandmother,” who lives in Cuernavaca, Mexico, taught Alcala how to sew and is obsessed with cats. Her designs were deliciously colorful and fresh, juxtaposing rich oranges and graying purples on playful silhouettes. Among them: nearly floor-length sleeves and cat-eared balaclavas.\u003c/p>\n\u003cfigure id=\"attachment_13958399\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg\" alt=\"model in bright pink dress with giant sleeves and gold detailing\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Dress by Jagmehak Mandhan during the Academy of Art Fashion Show on May 16, 2024. This year’s theme was ‘Uncharted Territories.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Jagmehak Mandhan’s pink look rounded the corner at the Academy of Art runway, attendees along the aisle actually gasped. Using fabrics she hand-selected from across North India and pieces of her mother’s 1989 wedding dress, Mandhan breathed exuberant life into traditional embroidery and regal silhouettes.\u003c/p>\n\u003cfigure id=\"attachment_13958416\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg\" alt=\"Woman in fuzzy pink dress surrounded by crowd\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model walks down the runway wearing Winny Qingzihua Guan’s knitwear during the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at CCA, Winny Qingzihua Guan’s knit dress, made from deconstructed N95 masks spun into yarn, was a favorite stand-alone garment. Guan’s textural details turned the dress into an ecosystem that rewarded close looking: here and there, horizontal strips of elastic from repurposed masks fluttered as the model strutted.\u003c/p>\n\u003cfigure id=\"attachment_13958411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg\" alt=\"Three models in crop tops\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Looks inspired by Bratz from SF State student designer Arnel Noquez. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnel Noquez’s collection brought every Zillenial Bratz fantasy to life at the SF State show. But beyond that iconic reference, each look was grounded in sleek craftsmanship, especially this crop top and miniskirt set with charming fur details.\u003c/p>\n\u003cfigure id=\"attachment_13958440\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg\" alt=\"Model in draped head covering, layered skirts and boots\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13958440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A design by Yiwei Wang at the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gooey center of CCA designer Yiwei Wang’s collection was a series of incredible trousers and one skirt that put texture, pattern and layering in refreshing concert with one another. Each look was completely unlike the other but united in a shared reimagining of bottoms.\u003c/p>\n\u003cfigure id=\"attachment_13958415\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg\" alt=\"Four models in wraps, beaded clothing and natural tones\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keana Pukahi De Bruce’s looks from her ‘Vanua’ collection at SF State. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keana Pukahi De Bruce debuted a gorgeous collection at the SF State show titled \u003ci>Vanua\u003c/i>, meaning “home” or “land,” that celebrated the designer’s Fijian roots and brought traditional materials into ready-to-wear. Careful shell beading, coconut fibers and a patterned fabric made from mulberry bark called masi — usually used in ceremonies — were highlights of the collection. \u003c/p>\n\u003cfigure id=\"attachment_13958419\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg\" alt=\"Black man in vest and black pants with chains and rivets walks in front of seated crowd\" width=\"2560\" height=\"1833\" class=\"size-full wp-image-13958419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wearing designs by Academy of Art student Haydée Quesedo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haydée Quesedo was another stunner at the Academy of Art show, melding punk rock with flamenco silhouettes. Quesedo’s designs delivered chains, full denim skirts and embroidered patches galore.\u003c/p>\n\u003cfigure id=\"attachment_13958418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1680\" class=\"size-full wp-image-13958418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A tulle look by Johnny UN on model Jianyan Liu at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny UN was a standout at the Academy of Art show with a striking and moody collection that surreptitiously commented on warfare, the designer told KQED. Graphic cut outs, ripped sleeves and oodles of billowing tulle dissolved into one another across UN’s looks, bringing forth feelings of disaster and detonation. The effect was foreboding and spectacular.\u003c/p>\n\u003cfigure id=\"attachment_13958441\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" class=\"size-full wp-image-13958441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, models Bob Copani, Saira Kaur and Averie Johnson pose with designer Joey Ledoux, center right, at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid many experiments in structure across the Academy of Art runway, Joey Ledoux’s were the most physically multi-dimensional. Inspired by time spent sailing with his grandfather as a kid, Ledoux transformed recreational outdoor materials — including collapsible tent poles and sails — into airy, wearable sculptures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After watching dozens of collections come down the runway, it’s clear that knitwear was the crown jewel this year. It materialized as fuzzy floor-length dresses and draping sleeves, and I was completely here for it. While many collections adhered to a more expected range of princess-y dresses and Sandy Liang-esque bows and ruching, the looks that had me gawking were the most specific: those that referenced a designer’s culture, childhood nostalgia or a grandmother who loves her granddaughter — and cats.\u003c/p>\n\n","blocks":[],"excerpt":"San Francisco fashion students dropped dozens of to-die-for looks.","status":"publish","parent":0,"modified":1717100539,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":977},"headData":{"title":"10 Collections that Stunned at Bay Area Student Fashion Shows | KQED","description":"San Francisco fashion students dropped dozens of to-die-for looks.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Collections that Stunned at Bay Area Student Fashion Shows","datePublished":"2024-05-23T15:52:04-07:00","dateModified":"2024-05-30T13:22:19-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958404","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958404/bay-area-student-fashion-shows-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wearable sails, breathtaking knitwear and oversized butterfly sleeves took to the runways during the \u003ca href=\"https://www.kqed.org/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art\">Bay Area’s unofficial fashion week\u003c/a> this month. Undergraduate and graduate students at California College of the Arts, San Francisco State University and the Academy of Art debuted their thesis collections to massive applause and, in the case of one particular collection, gasps. \u003c/p>\n\u003cp>Here are 10 collections from emerging and talented designers that had my jaw on the freakin’ floor — and renewed my excitement for \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">the Bay’s unique fashion scene\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wears a mini dress by student Paulina Aguilar-Rosil during the Pulse Runway Show at SF State on May 13, 2024. The fashion exhibition showcased work by apparel design and merchandising majors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958413\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paulina Aguilar-Rosil’s plaid skirt at the SF State runway. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paulina Aguilar-Rosil’s plaid skirt and her mini dress with an exaggerated bow elicited an audible response from the runway crowd — and for good reason. The SF State student’s bold \u003cem>Pobrecita\u003c/em> collection brought Chicana aesthetics into conversation with Catholic school uniforms. The outcome was a collection that told a captivating story about Aguilar-Rosil’s Los Angeles upbringing, using specific references that made her designs stand out from other, more familiar takes on It Girl styles.\u003c/p>\n\u003cfigure id=\"attachment_13958439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13958439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hand-crocheted looks by Pamela Alcala at the California College of the Arts show on May 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the CCA show, Pamela Alcala’s hand-crocheted collection didn’t just reimagine knitwear — it built an entire world out of brushed wool. Alcala told KQED her looks were a “menswear take on [her] grandmother,” who lives in Cuernavaca, Mexico, taught Alcala how to sew and is obsessed with cats. Her designs were deliciously colorful and fresh, juxtaposing rich oranges and graying purples on playful silhouettes. Among them: nearly floor-length sleeves and cat-eared balaclavas.\u003c/p>\n\u003cfigure id=\"attachment_13958399\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg\" alt=\"model in bright pink dress with giant sleeves and gold detailing\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Dress by Jagmehak Mandhan during the Academy of Art Fashion Show on May 16, 2024. This year’s theme was ‘Uncharted Territories.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Jagmehak Mandhan’s pink look rounded the corner at the Academy of Art runway, attendees along the aisle actually gasped. Using fabrics she hand-selected from across North India and pieces of her mother’s 1989 wedding dress, Mandhan breathed exuberant life into traditional embroidery and regal silhouettes.\u003c/p>\n\u003cfigure id=\"attachment_13958416\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg\" alt=\"Woman in fuzzy pink dress surrounded by crowd\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model walks down the runway wearing Winny Qingzihua Guan’s knitwear during the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at CCA, Winny Qingzihua Guan’s knit dress, made from deconstructed N95 masks spun into yarn, was a favorite stand-alone garment. Guan’s textural details turned the dress into an ecosystem that rewarded close looking: here and there, horizontal strips of elastic from repurposed masks fluttered as the model strutted.\u003c/p>\n\u003cfigure id=\"attachment_13958411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg\" alt=\"Three models in crop tops\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Looks inspired by Bratz from SF State student designer Arnel Noquez. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnel Noquez’s collection brought every Zillenial Bratz fantasy to life at the SF State show. But beyond that iconic reference, each look was grounded in sleek craftsmanship, especially this crop top and miniskirt set with charming fur details.\u003c/p>\n\u003cfigure id=\"attachment_13958440\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg\" alt=\"Model in draped head covering, layered skirts and boots\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13958440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A design by Yiwei Wang at the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gooey center of CCA designer Yiwei Wang’s collection was a series of incredible trousers and one skirt that put texture, pattern and layering in refreshing concert with one another. Each look was completely unlike the other but united in a shared reimagining of bottoms.\u003c/p>\n\u003cfigure id=\"attachment_13958415\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg\" alt=\"Four models in wraps, beaded clothing and natural tones\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keana Pukahi De Bruce’s looks from her ‘Vanua’ collection at SF State. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keana Pukahi De Bruce debuted a gorgeous collection at the SF State show titled \u003ci>Vanua\u003c/i>, meaning “home” or “land,” that celebrated the designer’s Fijian roots and brought traditional materials into ready-to-wear. Careful shell beading, coconut fibers and a patterned fabric made from mulberry bark called masi — usually used in ceremonies — were highlights of the collection. \u003c/p>\n\u003cfigure id=\"attachment_13958419\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg\" alt=\"Black man in vest and black pants with chains and rivets walks in front of seated crowd\" width=\"2560\" height=\"1833\" class=\"size-full wp-image-13958419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wearing designs by Academy of Art student Haydée Quesedo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haydée Quesedo was another stunner at the Academy of Art show, melding punk rock with flamenco silhouettes. Quesedo’s designs delivered chains, full denim skirts and embroidered patches galore.\u003c/p>\n\u003cfigure id=\"attachment_13958418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1680\" class=\"size-full wp-image-13958418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A tulle look by Johnny UN on model Jianyan Liu at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny UN was a standout at the Academy of Art show with a striking and moody collection that surreptitiously commented on warfare, the designer told KQED. Graphic cut outs, ripped sleeves and oodles of billowing tulle dissolved into one another across UN’s looks, bringing forth feelings of disaster and detonation. The effect was foreboding and spectacular.\u003c/p>\n\u003cfigure id=\"attachment_13958441\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" class=\"size-full wp-image-13958441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, models Bob Copani, Saira Kaur and Averie Johnson pose with designer Joey Ledoux, center right, at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid many experiments in structure across the Academy of Art runway, Joey Ledoux’s were the most physically multi-dimensional. Inspired by time spent sailing with his grandfather as a kid, Ledoux transformed recreational outdoor materials — including collapsible tent poles and sails — into airy, wearable sculptures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After watching dozens of collections come down the runway, it’s clear that knitwear was the crown jewel this year. It materialized as fuzzy floor-length dresses and draping sleeves, and I was completely here for it. While many collections adhered to a more expected range of princess-y dresses and Sandy Liang-esque bows and ruching, the looks that had me gawking were the most specific: those that referenced a designer’s culture, childhood nostalgia or a grandmother who loves her granddaughter — and cats.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958404/bay-area-student-fashion-shows-2024","authors":["11872"],"categories":["arts_1","arts_76"],"tags":["arts_5850","arts_10342","arts_1696","arts_15240","arts_9510"],"featImg":"arts_13958461","label":"arts"}},"programsReducer":{"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/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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