$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco
How to See Chaka Khan, Chicano Batman for Free at Stern Grove
Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95
Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died
Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage
Honey Mahogany Chosen to Lead SF's Office of Transgender Initiatives
‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music
Berkeley's Market Hall Foods Is Closing After 28 Years
You Can Now Get Legally Married at Outside Lands
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srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1920x1920.png 1920w\" sizes=\"(max-width: 2160px) 100vw, 2160px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the proposed artist housing at 1687 Market Street, planned with 100 affordable artist units, studio and rehearsal spaces, a community center and a black box theater. \u003ccite>(Mark Cavagnero Associates Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new San Francisco development that would provide affordable housing and studio space for artists took its first step toward completion Friday.\u003c/p>\n\u003cp>Buoyed by a $100 million gift from an anonymous donor, two nonprofits, \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/880678308\">Artists Hub on Market\u003c/a> and \u003ca href=\"https://www.mercyhousing.org/california/\">Mercy Housing of California\u003c/a>, filed plans with the city for 1687 Market St., the current site of the McRoskey Mattress Co. showroom.\u003c/p>\n\u003cp>The plans call for a 17-story building with 100 affordable apartments for artists, as well as studio space, practice rooms, a community center and a 99-seat black box theater. Though the construction price is not finalized, the gift was “based around the initial estimate” for such a project, according to \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline\u003c/a>, the president of Artists Hub on Market.\u003c/p>\n\u003cp>[aside postID='news_11973656']Kline said the project was inspired by the ongoing exodus of artists priced out of San Francisco as rents have skyrocketed and spaces closed. \u003c/p>\n\u003cp>“When I came to San Francisco almost 50 years ago, I was an aspiring artist, and I could live quite cheaply here,” he said. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think everyone’s in agreement that this would be a really great thing for the benefit of artists and the cultural life of San Francisco,” said Kline, who as founder and former director of SFJAZZ shepherded construction of the $64 million SFJAZZ Center, which opened in 2013 at Franklin and Fell Streets, six blocks from the proposed housing.\u003c/p>\n\u003cfigure id=\"attachment_13928729\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SFJAZZ founder Randall Kline accepts the Lifetime Achievement Award at the organization’s annual gala in San Francisco on May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Kline, both Mayor London Breed and San Francisco’s planning department have so far been enthusiastic about the project, known simply as 1687 Market. The project would be fast-tracked by \u003ca href=\"https://www.kqed.org/news/11923146/these-california-affordable-housing-bills-could-create-more-than-a-million-apartments-if-labor-unions-can-agree-on-terms\">Assembly Bill 2011\u003c/a>, approved in 2022, which encourages affordable housing on commercially zoned land.\u003c/p>\n\u003cp>The hope is to begin construction in late 2025, with completion sometime in 2027. Overseeing the project is San Francisco architect \u003ca href=\"https://www.cavagnero.com/\">Mark Cavagnero\u003c/a>, whose projects include the SFJAZZ Center as well as the nearby San Francisco Conservatory of Music. \u003c/p>\n\u003cp>[aside postID='arts_13910898']It is “far too soon” to provide an estimated monthly rent for space at 1687 Market, Kline said. Applications for artist housing in San Francisco are typically subject to a lottery, though \u003ca href=\"https://www.kqed.org/arts/13828581/san-francisco-looks-to-create-low-cost-housing-preference-for-artists\">that process has at times been onerous\u003c/a>. \u003c/p>\n\u003cp>As an inspiration for 1867 Market, Kline cited New York City’s Manhattan Plaza, an artist building that has been home to many jazz musicians, as well as singer Alicia Keys, writer Tennessee Williams, actor Timothée Chalamet and others.\u003c/p>\n\u003cp>“There’s a building older than that, also, called Westbeth,” Kline said, referring to the downtown New York building that has housed jazz guitarist John Scofield, visual artist Nam June Paik, choreographer Merce Cunningham and actor Robert de Niro.\u003c/p>\n\u003cfigure id=\"attachment_13957654\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg\" alt=\"\" width=\"1920\" height=\"1304\" class=\"size-full wp-image-13957654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1536x1043.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robin McRoskey Azevedo, pictured in 2010 at the McRoskey Mattress Co. on Market Street in San Francisco. The building site is planned for new artist housing. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The existing \u003ca href=\"https://www.mcroskey.com/heritage\">McRoskey Mattress Co.\u003c/a> building would be demolished to make way for the new housing. Building owner Robin McRoskey Azevedo sold the mattress company, which was founded in 1899, to Fresno-based Pleasant Mattress in 2018. In its factory loft, the building has hosted events with the San Francisco Silent Film Festival, for which Azevedo is a board member. \u003c/p>\n\u003cp>The project is coming about thanks to a combination of AB 2011, support from the city and a central location, Kline said, as well as \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">his decision last year to step down from SFJAZZ\u003c/a>. The anonymous donor, meanwhile, was crucial. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, what a gift to the city,” Kline said. “This is really a person who doesn’t care about notoriety, but does care about the artistic and cultural life of the city.”\u003c/p>\n\n","blocks":[],"excerpt":"Plans for the 100-unit building on Market Street were filed with the city on Friday.","status":"publish","parent":0,"modified":1715374658,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":688},"headData":{"title":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco | KQED","description":"Plans for the 100-unit building on Market Street were filed with the city on Friday.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco","datePublished":"2024-05-10T20:57:38.000Z","dateModified":"2024-05-10T20:57:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957645","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957614\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png\" alt=\"A computer rendering of a 17-story building, on a street with people and cars.\" width=\"2160\" height=\"2160\" class=\"size-full wp-image-13957614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1920x1920.png 1920w\" sizes=\"(max-width: 2160px) 100vw, 2160px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the proposed artist housing at 1687 Market Street, planned with 100 affordable artist units, studio and rehearsal spaces, a community center and a black box theater. \u003ccite>(Mark Cavagnero Associates Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new San Francisco development that would provide affordable housing and studio space for artists took its first step toward completion Friday.\u003c/p>\n\u003cp>Buoyed by a $100 million gift from an anonymous donor, two nonprofits, \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/880678308\">Artists Hub on Market\u003c/a> and \u003ca href=\"https://www.mercyhousing.org/california/\">Mercy Housing of California\u003c/a>, filed plans with the city for 1687 Market St., the current site of the McRoskey Mattress Co. showroom.\u003c/p>\n\u003cp>The plans call for a 17-story building with 100 affordable apartments for artists, as well as studio space, practice rooms, a community center and a 99-seat black box theater. Though the construction price is not finalized, the gift was “based around the initial estimate” for such a project, according to \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline\u003c/a>, the president of Artists Hub on Market.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11973656","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Kline said the project was inspired by the ongoing exodus of artists priced out of San Francisco as rents have skyrocketed and spaces closed. \u003c/p>\n\u003cp>“When I came to San Francisco almost 50 years ago, I was an aspiring artist, and I could live quite cheaply here,” he said. \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>“I think everyone’s in agreement that this would be a really great thing for the benefit of artists and the cultural life of San Francisco,” said Kline, who as founder and former director of SFJAZZ shepherded construction of the $64 million SFJAZZ Center, which opened in 2013 at Franklin and Fell Streets, six blocks from the proposed housing.\u003c/p>\n\u003cfigure id=\"attachment_13928729\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SFJAZZ founder Randall Kline accepts the Lifetime Achievement Award at the organization’s annual gala in San Francisco on May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Kline, both Mayor London Breed and San Francisco’s planning department have so far been enthusiastic about the project, known simply as 1687 Market. The project would be fast-tracked by \u003ca href=\"https://www.kqed.org/news/11923146/these-california-affordable-housing-bills-could-create-more-than-a-million-apartments-if-labor-unions-can-agree-on-terms\">Assembly Bill 2011\u003c/a>, approved in 2022, which encourages affordable housing on commercially zoned land.\u003c/p>\n\u003cp>The hope is to begin construction in late 2025, with completion sometime in 2027. Overseeing the project is San Francisco architect \u003ca href=\"https://www.cavagnero.com/\">Mark Cavagnero\u003c/a>, whose projects include the SFJAZZ Center as well as the nearby San Francisco Conservatory of Music. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13910898","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It is “far too soon” to provide an estimated monthly rent for space at 1687 Market, Kline said. Applications for artist housing in San Francisco are typically subject to a lottery, though \u003ca href=\"https://www.kqed.org/arts/13828581/san-francisco-looks-to-create-low-cost-housing-preference-for-artists\">that process has at times been onerous\u003c/a>. \u003c/p>\n\u003cp>As an inspiration for 1867 Market, Kline cited New York City’s Manhattan Plaza, an artist building that has been home to many jazz musicians, as well as singer Alicia Keys, writer Tennessee Williams, actor Timothée Chalamet and others.\u003c/p>\n\u003cp>“There’s a building older than that, also, called Westbeth,” Kline said, referring to the downtown New York building that has housed jazz guitarist John Scofield, visual artist Nam June Paik, choreographer Merce Cunningham and actor Robert de Niro.\u003c/p>\n\u003cfigure id=\"attachment_13957654\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg\" alt=\"\" width=\"1920\" height=\"1304\" class=\"size-full wp-image-13957654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1536x1043.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robin McRoskey Azevedo, pictured in 2010 at the McRoskey Mattress Co. on Market Street in San Francisco. The building site is planned for new artist housing. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The existing \u003ca href=\"https://www.mcroskey.com/heritage\">McRoskey Mattress Co.\u003c/a> building would be demolished to make way for the new housing. Building owner Robin McRoskey Azevedo sold the mattress company, which was founded in 1899, to Fresno-based Pleasant Mattress in 2018. In its factory loft, the building has hosted events with the San Francisco Silent Film Festival, for which Azevedo is a board member. \u003c/p>\n\u003cp>The project is coming about thanks to a combination of AB 2011, support from the city and a central location, Kline said, as well as \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">his decision last year to step down from SFJAZZ\u003c/a>. The anonymous donor, meanwhile, was crucial. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, what a gift to the city,” Kline said. “This is really a person who doesn’t care about notoriety, but does care about the artistic and cultural life of the city.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco","authors":["185"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_4544","arts_163","arts_2216","arts_2048"],"featImg":"arts_13957653","label":"arts"},"arts_13957582":{"type":"posts","id":"arts_13957582","meta":{"index":"posts_1591205157","site":"arts","id":"13957582","score":null,"sort":[1715360227000]},"guestAuthors":[],"slug":"stern-grove-lineup-san-francisco-2024-free-concerts","title":"How to See Chaka Khan, Chicano Batman for Free at Stern Grove","publishDate":1715360227,"format":"standard","headTitle":"How to See Chaka Khan, Chicano Batman for Free at Stern Grove | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>, a San Francisco institution if there ever was one, is back for an 87th season of free outdoor concerts starting June 23 and continuing every Sunday through Aug. 25.\u003c/p>\n\u003cp>Its eclectic lineup kicks off with a performance by popular queer indie rock duo \u003ca href=\"https://youtu.be/BTMt8sjbFtU?si=t7tlrfmZAeYZHOwS\">Tegan and Sara\u003c/a>, with an opening set from rising Oakland singer-songwriter \u003ca href=\"https://kingisis.bandcamp.com/\">King Isis\u003c/a>. June 30 sees the arrival of \u003ca href=\"https://youtu.be/fsmwWjU_Xaw?si=WyN7fbGLEQjueAwN\">Chicano Batman\u003c/a>, whose oozing, psychedelic guitar pop shines on their new, bilingual album, \u003cem>Notebook Fantasy\u003c/em>; Colombian Canadian singer \u003ca href=\"https://youtu.be/K0nRktrfhPk?si=OdidVB2CnIsKEvh7\">Lido Pimiento\u003c/a> will open with her tropical, electronic indie pop.\u003c/p>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg\" alt=\"Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On July 7, the San Francisco Symphony performs en plein air with Broadway singer and actress \u003ca href=\"https://youtu.be/jSiWuNb8b_A?si=mo2jjp20PzXSbRYz\">Jessica Vosk\u003c/a>. Funk and soul legends the Commodores (the band of “\u003ca href=\"https://youtu.be/KzOJaHHlIcQ?si=X5S7aWX06UH1qCuq\">Brick House\u003c/a>” fame that gave rise to Lionel Richie) perform July 14 with \u003ca href=\"https://youtu.be/tiAf94VSPI0?si=PctRNudqQ5kGZWM2\">The Grease Traps\u003c/a>. July 21 welcomes saxophonist and R&B singer \u003ca href=\"https://youtu.be/hC8CH0Z3L54?si=hLErNIUsSU3tF-AC\">Masego\u003c/a>, along with soulful Oakland vocalist \u003ca href=\"https://youtu.be/N5cET-ipUcQ?si=MZ_j1dh-Cw1jXX78\">Satya\u003c/a>.\u003c/p>\n\u003cp>Nu-disco British electronic duo \u003ca href=\"https://youtu.be/uFJomteTY7k?si=qQ1apaG6yHKxutQs\">Franc Moody\u003c/a> takes the stage July 28 with funk revivalists \u003ca href=\"https://www.youtube.com/watch?v=NSdAUJhLZNc\">Drama\u003c/a>. Indie rocker \u003ca href=\"https://youtu.be/zV75x00RiKI?si=Wi9M3GCo6nU8VrXq\">Alex G\u003c/a> and local faves \u003ca href=\"https://youtu.be/09XNN3nfNlk?si=H8t3WpYkyh60-_LS\">Fake Fruit\u003c/a> perform on Aug. 4.\u003c/p>\n\u003cp>Jazz legend Herbie Hancock — who has \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#herbie-hancock-records-head-hunters-in-the-tenderloin\">plenty of history\u003c/a> in San Francisco — headlines Aug. 11, with the SFJAZZ Collective. Americana treasure \u003ca href=\"https://youtu.be/mTu4cXW9H_Q?si=JyevuVRy34g8E3f8\">Lucinda Williams\u003c/a> performs on Aug. 18 with \u003ca href=\"https://youtu.be/5LZtcCsCwP8?si=jm28IqDCMxvDM_L6\">Jobi Riccio\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939952\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg\" alt=\"a young woman with dark hair and a dark dress plays a white guitar on stage in purple lighting\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hannah D’Amato of Oakland’s Fake Fruit performs at Pitchfork Music Festival London in 2022. \u003ccite>(Burak Cingi/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the closing Big Picnic Weekend, which also includes a Saturday show, electronic pop duo Sylvan Esso (whose song “\u003ca href=\"https://youtu.be/Qr5AIKRPIHo?si=lSV7PVLzeF4bVPjs\">Coffee\u003c/a>” you’ve definitely heard even if you don’t know it by name) performs Aug. 24 with lounge-y disco and pop band \u003ca href=\"https://youtu.be/8_I7AS90OV4?si=kqK2aIQcikLAbOcp\">Poolside\u003c/a>. And finally, on Aug. 25, the queen of funk, boogie and disco \u003ca href=\"https://youtu.be/BNirQXe8HOA?si=_aWlSodf42Pb43eN\">Chaka Khan\u003c/a> closes out the summer festivities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All shows are free, but RSVP is required. \u003ca href=\"https://www.sterngrove.org/\">Tickets\u003c/a> get released one month ahead of each event at 2 p.m. Reserved table seating is available for purchase, and the concerts will also broadcast and livestream on KPIX.\u003c/p>\n\n","blocks":[],"excerpt":"The concert series also includes Herbie Hancock, Alex G, Lucinda Williams, the Commodores and more.","status":"publish","parent":0,"modified":1715355580,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":362},"headData":{"title":"Stern Grove Lineup: Chaka Khan, Chicano Batman, Herbie Hancock, more | KQED","description":"Other artists in this year's free concert series include Alex G, Lucinda Williams, the Commodores and Sylvan Esso.","ogTitle":"Stern Grove Lineup: Chaka Khan, Chicano Batman, Herbie Hancock, more","ogDescription":"Other artists in this year's free concert series include Alex G, Lucinda Williams, the Commodores and Sylvan Esso.","ogImgId":"","twTitle":"Stern Grove Lineup: Chaka Khan, Chicano Batman, Herbie Hancock, more","twDescription":"Other artists in this year's free concert series include Alex G, Lucinda Williams, the Commodores and Sylvan Esso.","twImgId":"","socialTitle":"Stern Grove Lineup: Chaka Khan, Chicano Batman, Herbie Hancock, more %%page%% %%sep%% KQED","socialDescription":"Other artists in this year's free concert series include Alex G, Lucinda Williams, the Commodores and Sylvan Esso.","schema":{"@context":"http://schema.org","@type":"Article","headline":"How to See Chaka Khan, Chicano Batman for Free at Stern Grove","datePublished":"2024-05-10T16:57:07.000Z","dateModified":"2024-05-10T15:39:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>, a San Francisco institution if there ever was one, is back for an 87th season of free outdoor concerts starting June 23 and continuing every Sunday through Aug. 25.\u003c/p>\n\u003cp>Its eclectic lineup kicks off with a performance by popular queer indie rock duo \u003ca href=\"https://youtu.be/BTMt8sjbFtU?si=t7tlrfmZAeYZHOwS\">Tegan and Sara\u003c/a>, with an opening set from rising Oakland singer-songwriter \u003ca href=\"https://kingisis.bandcamp.com/\">King Isis\u003c/a>. June 30 sees the arrival of \u003ca href=\"https://youtu.be/fsmwWjU_Xaw?si=WyN7fbGLEQjueAwN\">Chicano Batman\u003c/a>, whose oozing, psychedelic guitar pop shines on their new, bilingual album, \u003cem>Notebook Fantasy\u003c/em>; Colombian Canadian singer \u003ca href=\"https://youtu.be/K0nRktrfhPk?si=OdidVB2CnIsKEvh7\">Lido Pimiento\u003c/a> will open with her tropical, electronic indie pop.\u003c/p>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg\" alt=\"Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On July 7, the San Francisco Symphony performs en plein air with Broadway singer and actress \u003ca href=\"https://youtu.be/jSiWuNb8b_A?si=mo2jjp20PzXSbRYz\">Jessica Vosk\u003c/a>. Funk and soul legends the Commodores (the band of “\u003ca href=\"https://youtu.be/KzOJaHHlIcQ?si=X5S7aWX06UH1qCuq\">Brick House\u003c/a>” fame that gave rise to Lionel Richie) perform July 14 with \u003ca href=\"https://youtu.be/tiAf94VSPI0?si=PctRNudqQ5kGZWM2\">The Grease Traps\u003c/a>. July 21 welcomes saxophonist and R&B singer \u003ca href=\"https://youtu.be/hC8CH0Z3L54?si=hLErNIUsSU3tF-AC\">Masego\u003c/a>, along with soulful Oakland vocalist \u003ca href=\"https://youtu.be/N5cET-ipUcQ?si=MZ_j1dh-Cw1jXX78\">Satya\u003c/a>.\u003c/p>\n\u003cp>Nu-disco British electronic duo \u003ca href=\"https://youtu.be/uFJomteTY7k?si=qQ1apaG6yHKxutQs\">Franc Moody\u003c/a> takes the stage July 28 with funk revivalists \u003ca href=\"https://www.youtube.com/watch?v=NSdAUJhLZNc\">Drama\u003c/a>. Indie rocker \u003ca href=\"https://youtu.be/zV75x00RiKI?si=Wi9M3GCo6nU8VrXq\">Alex G\u003c/a> and local faves \u003ca href=\"https://youtu.be/09XNN3nfNlk?si=H8t3WpYkyh60-_LS\">Fake Fruit\u003c/a> perform on Aug. 4.\u003c/p>\n\u003cp>Jazz legend Herbie Hancock — who has \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#herbie-hancock-records-head-hunters-in-the-tenderloin\">plenty of history\u003c/a> in San Francisco — headlines Aug. 11, with the SFJAZZ Collective. Americana treasure \u003ca href=\"https://youtu.be/mTu4cXW9H_Q?si=JyevuVRy34g8E3f8\">Lucinda Williams\u003c/a> performs on Aug. 18 with \u003ca href=\"https://youtu.be/5LZtcCsCwP8?si=jm28IqDCMxvDM_L6\">Jobi Riccio\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939952\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg\" alt=\"a young woman with dark hair and a dark dress plays a white guitar on stage in purple lighting\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hannah D’Amato of Oakland’s Fake Fruit performs at Pitchfork Music Festival London in 2022. \u003ccite>(Burak Cingi/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the closing Big Picnic Weekend, which also includes a Saturday show, electronic pop duo Sylvan Esso (whose song “\u003ca href=\"https://youtu.be/Qr5AIKRPIHo?si=lSV7PVLzeF4bVPjs\">Coffee\u003c/a>” you’ve definitely heard even if you don’t know it by name) performs Aug. 24 with lounge-y disco and pop band \u003ca href=\"https://youtu.be/8_I7AS90OV4?si=kqK2aIQcikLAbOcp\">Poolside\u003c/a>. And finally, on Aug. 25, the queen of funk, boogie and disco \u003ca href=\"https://youtu.be/BNirQXe8HOA?si=_aWlSodf42Pb43eN\">Chaka Khan\u003c/a> closes out the summer festivities.\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>All shows are free, but RSVP is required. \u003ca href=\"https://www.sterngrove.org/\">Tickets\u003c/a> get released one month ahead of each event at 2 p.m. Reserved table seating is available for purchase, and the concerts will also broadcast and livestream on KPIX.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_10278","arts_1146","arts_1788","arts_585"],"featImg":"arts_13916882","label":"arts_140"},"arts_13957530":{"type":"posts","id":"arts_13957530","meta":{"index":"posts_1591205157","site":"arts","id":"13957530","score":null,"sort":[1715220738000]},"guestAuthors":[],"slug":"barbara-stauffacher-solomon-supergraphics-obituary","title":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","publishDate":1715220738,"format":"aside","headTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95 | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13957526\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg\" alt=\"\" width=\"1436\" height=\"1920\" class=\"size-full wp-image-13957526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1020x1364.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1149x1536.jpg 1149w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, seen here surrounded by her designs. The artist and pioneer of supergraphics died at her home Tuesday night at age 95. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barbara Stauffacher Solomon, a giant in the worlds of landscape architecture and graphic design who spearheaded the colorful supergraphics movement of the 1960s and ’70s, died last night at her home in San Francisco. She was 95.\u003c/p>\n\u003cp>According to her daughter, the Los Angeles-based artist Nellie King Solomon, Stauffacher Solomon had been in hospice care for some time, and had reached the point where she was no longer able to eat, drink or talk. “Her body expired,” Solomon said. “She had a huge life! There’s no tragedy.”\u003c/p>\n\u003cp>In spite of her declining health, Stauffacher Solomon was a prolific artist up until the very end. Recent projects include a series of drawings displayed on the walls above a \u003ca href=\"https://staircase.place/\">red-painted staircase\u003c/a> in the Inner Richmond, a \u003ca href=\"https://www.vonbartha.com/events/welcome-sign-st-moritz/\">95-foot-long “WELCOME” sign\u003c/a> installed on the retaining wall outside the train station in Moritz, Switzerland, and a large-scale, stripe-themed installation that currently occupies the entire \u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">second-floor lobby of SFMOMA\u003c/a>. \u003c/p>\n\u003cp>“She died with Liquid Paper on her hands,” Solomon said. “She wrestled it with the nurses.”\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Grunder, a San Francisco artist who worked as Stauffacher Solomon’s studio assistant and informal caregiver for much of the past few years, said that he was inspired by her ability to overcome adversity — “reinventing herself five times over in 70-plus years,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After her first husband, the filmmaker Frank Stauffacher, died, Stauffacher Solomon moved to Basel, Switzerland, to study graphic design and learn skills that she could use to support herself and her young child. She returned to San Francisco in the early ’60s to open her own graphic design firm. \u003c/p>\n\u003cfigure id=\"attachment_13839100\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg\" alt=\"Barbara Stauffacher Solomon in 1955.\" width=\"640\" height=\"865\" class=\"size-full wp-image-13839100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-375x507.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-520x703.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon in 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, Stauffacher Solomon took on the design project that she will likely be remembered most for, at an experimental housing development known as \u003ca href=\"https://www.tsra.org/\">Sea Ranch\u003c/a> on the Sonoma coast. She designed the ram’s horn–inspired logo, as well as the bold, large-scale graphic elements that are painted inside several buildings at Sea Ranch, including, most famously, its \u003ca href=\"https://searanch.ced.berkeley.edu/s/sea-ranch/page/moonraker\">athletic center\u003c/a>. The new style of graphics and environmental architecture that she created came to be known as supergraphics — a design movement that blended “the rigor of Swiss modernism with the color and style of [Stauffacher Solomon’s] West Coast sensibility,” as KQED’s Sarah Hotchkiss described it in a \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">2018 profile of the artist\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957527\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13957527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The rams horns at the Sea Ranch Lodge as designed by artist Barbara Stauffacher Solomon. \u003ccite>(Myung J. Chun / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Solomon asserted that the “hard-edged” supergraphics are only one part of her mother’s artistic legacy. “There was this whole schmaltzy side to her,” she said. She loved 1930s French music; she loved gardens and meadows; she spent years working primarily as a landscape architect. Some of Solomon’s favorite memories with her mother were of “breaking and entering” into historical gardens — experiences that she documented in her 1989 book, \u003cem>Green Architecture & the Agrarian Garden\u003c/em>.\u003c/p>\n\u003cp>In more recent years, Stauffacher Solomon revisited the supergraphics style that she helped popularize, perhaps most notably for her recent SFMOMA atrium project. Joseph Becker, SFMOMA’s Associate Curator of Architecture and Design, said he had been collaborating with Stauffacher Solomon for years, describing her as “an incredible sparring partner and visionary who suffered no fools.” \u003c/p>\n\u003cfigure id=\"attachment_13957524\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13957524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie and granddaughter Fia. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She overcame tremendous adversity in the early part of her career, developing her own graphic design practice in a world not hospitable to women setting out on their own and making a name for themselves,” Becker said. “One of the reasons was because she had an exacting vision and attitude. To work with someone like that, even though she was 95, her clarity was undeniable. She knew exactly what she wanted, saw all sides of the project.”\u003c/p>\n\u003cp>The museum currently has new Stauffacher Solomon work that it’s partnering with the City of San Francisco to present: a massive, 300-foot-long \u003ca href=\"https://www.sfartscommission.org/content/minna-natoma-art-corridor-project-street-paving\">street paving project on Minna Street\u003c/a> featuring a graphic pattern made of red boots as an homage to Minna Rae Simpson, the street’s supposed namesake.\u003c/p>\n\u003cp>“What an absolute San Francisco treasure,” Becker said of Stauffacher Solomon. “Hands down, one of the best.”\u003c/p>\n\u003cfigure id=\"attachment_13957523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg\" alt=\"\" width=\"1920\" height=\"1443\" class=\"size-full wp-image-13957523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, going through some of her many files. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder, who met Stauffacher Solomon in 2019, said he “clicked [with her] in a way I never clicked with any friend ever.” Working closely with her as her “accomplice” these past few years, he says what he learned most from her is that you “can have an absolutely wonderful life without trying to please everybody.”\u003c/p>\n\u003cp>“Truthfully, she was incredibly prickly to a lot of people, and incredibly sweet and devoted to others,” Grunder said.\u003c/p>\n\u003cp>In recent years, he said, what Stauffacher Solomon seemed proudest of were her books — many of them an eccentric mix of drawings, abstractions and some rhyming text. The one she’d just completed, \u003cem>See the Invisible\u003c/em>, due to be released by \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> later this year, focuses on a theme Grunder says Stauffacher Solomon was obsessed with: making things that are visible invisible — with how design can be almost entirely invisible.\u003c/p>\n\u003cfigure id=\"attachment_13839103\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg\" alt=\"Installation view of Barbara Stauffacher Solomon's 'Land(e)scape 2018' at BAMPFA.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13839103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Barbara Stauffacher Solomon’s ‘Land(e)scape 2018’ at BAMPFA. \u003ccite>(Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder recalls a time when Stauffacher Solomon referred, offhandedly, to her signs on Market Street in San Francisco. “Maybe you’re confused,” Grunder remembers saying to her. When did she ever get commissioned to do an installation on Market Street? So, she sent him down to Market and 3rd and had him look: “There, there,” she told him.\u003c/p>\n\u003cp>As it turns out, Stauffacher Solomon had designed the \u003cem>\u003ca href=\"https://www.google.com/maps/@37.7879043,-122.4033387,3a,75y,204.09h,101.03t/data=!3m7!1e1!3m5!1shUg8nuEWC6jtk-GaO4ZOgA!2e0!6shttps:%2F%2Fstreetviewpixels-pa.googleapis.com%2Fv1%2Fthumbnail%3Fpanoid%3DhUg8nuEWC6jtk-GaO4ZOgA%26cb_client%3Dmaps_sv.share%26w%3D900%26h%3D600%26yaw%3D204.08666956826983%26pitch%3D-11.025780054833689%26thumbfov%3D90!7i16384!8i8192?coh=205410&entry=ttu\">actual street signs\u003c/a>\u003c/em>. “Ta-da,” she said, when he finally made the connection.\u003c/p>\n\u003cp>As SFMOMA’s Becker put it, “We’re surrounded by works by Bobbie even if we’re not aware of it,” using the name used by Stauffacher Solomon’s friends.\u003c/p>\n\u003cfigure id=\"attachment_13957525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13957525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie, granddaughter Fia, and a display of her work. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having spent much of the past decade fielding questions about legacy, Stauffacher Solomon was delighted to surprise one such inquisitor by saying she’d like to be remembered “for being a good mommy.” According to Solomon, her mother really did view herself as a mother and a grandmother first, even before her career, as someone who made the conscious choice to “build the next generation and have the best work of your life.” \u003c/p>\n\u003cp>“Because the art world and the design world are primarily a man’s world, they want you to choose between the two. I think that’s antiquated and ridiculous,” Solomon said. In that way, she believes that she and her own 16-year-old daughter, Fia — a budding singer-songwriter in her own right — are tasked with carrying on Stauffacher Solomon’s true legacy.\u003c/p>\n\u003cp>On Sunday, May 12, at 3 p.m., the family will hold a public memorial for Stauffacher Solomon at \u003ca href=\"https://presidio.gov/explore/attractions/crissy-field-east-beach\">Crissy Field East Beach\u003c/a>, in front of the changing rooms. “That was where she used to walk her dog Jake,” Solomon said. “The beach is where she hung out.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She hopes friends, colleagues and other well-wishers who knew her mother will come ready with stories to share to give her a proper send-off.\u003c/p>\n\n","blocks":[],"excerpt":"The San Francisco-born designer and landscape architect was known for her colorful, oversized work.","status":"publish","parent":0,"modified":1715220846,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1357},"headData":{"title":"Artist Barbara Stauffacher Solomon Dies at 95 | KQED","description":"The San Francisco-born designer and landscape architect was known for her colorful, oversized work.","ogTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","ogDescription":"","ogImgId":"","twTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","twDescription":"","twImgId":"","socialTitle":"Artist Barbara Stauffacher Solomon Dies at 95 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","datePublished":"2024-05-09T02:12:18.000Z","dateModified":"2024-05-09T02:14:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957530","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957526\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg\" alt=\"\" width=\"1436\" height=\"1920\" class=\"size-full wp-image-13957526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1020x1364.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1149x1536.jpg 1149w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, seen here surrounded by her designs. The artist and pioneer of supergraphics died at her home Tuesday night at age 95. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barbara Stauffacher Solomon, a giant in the worlds of landscape architecture and graphic design who spearheaded the colorful supergraphics movement of the 1960s and ’70s, died last night at her home in San Francisco. She was 95.\u003c/p>\n\u003cp>According to her daughter, the Los Angeles-based artist Nellie King Solomon, Stauffacher Solomon had been in hospice care for some time, and had reached the point where she was no longer able to eat, drink or talk. “Her body expired,” Solomon said. “She had a huge life! There’s no tragedy.”\u003c/p>\n\u003cp>In spite of her declining health, Stauffacher Solomon was a prolific artist up until the very end. Recent projects include a series of drawings displayed on the walls above a \u003ca href=\"https://staircase.place/\">red-painted staircase\u003c/a> in the Inner Richmond, a \u003ca href=\"https://www.vonbartha.com/events/welcome-sign-st-moritz/\">95-foot-long “WELCOME” sign\u003c/a> installed on the retaining wall outside the train station in Moritz, Switzerland, and a large-scale, stripe-themed installation that currently occupies the entire \u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">second-floor lobby of SFMOMA\u003c/a>. \u003c/p>\n\u003cp>“She died with Liquid Paper on her hands,” Solomon said. “She wrestled it with the nurses.”\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Grunder, a San Francisco artist who worked as Stauffacher Solomon’s studio assistant and informal caregiver for much of the past few years, said that he was inspired by her ability to overcome adversity — “reinventing herself five times over in 70-plus years,” he said.\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>After her first husband, the filmmaker Frank Stauffacher, died, Stauffacher Solomon moved to Basel, Switzerland, to study graphic design and learn skills that she could use to support herself and her young child. She returned to San Francisco in the early ’60s to open her own graphic design firm. \u003c/p>\n\u003cfigure id=\"attachment_13839100\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg\" alt=\"Barbara Stauffacher Solomon in 1955.\" width=\"640\" height=\"865\" class=\"size-full wp-image-13839100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-375x507.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-520x703.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon in 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, Stauffacher Solomon took on the design project that she will likely be remembered most for, at an experimental housing development known as \u003ca href=\"https://www.tsra.org/\">Sea Ranch\u003c/a> on the Sonoma coast. She designed the ram’s horn–inspired logo, as well as the bold, large-scale graphic elements that are painted inside several buildings at Sea Ranch, including, most famously, its \u003ca href=\"https://searanch.ced.berkeley.edu/s/sea-ranch/page/moonraker\">athletic center\u003c/a>. The new style of graphics and environmental architecture that she created came to be known as supergraphics — a design movement that blended “the rigor of Swiss modernism with the color and style of [Stauffacher Solomon’s] West Coast sensibility,” as KQED’s Sarah Hotchkiss described it in a \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">2018 profile of the artist\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957527\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13957527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The rams horns at the Sea Ranch Lodge as designed by artist Barbara Stauffacher Solomon. \u003ccite>(Myung J. Chun / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Solomon asserted that the “hard-edged” supergraphics are only one part of her mother’s artistic legacy. “There was this whole schmaltzy side to her,” she said. She loved 1930s French music; she loved gardens and meadows; she spent years working primarily as a landscape architect. Some of Solomon’s favorite memories with her mother were of “breaking and entering” into historical gardens — experiences that she documented in her 1989 book, \u003cem>Green Architecture & the Agrarian Garden\u003c/em>.\u003c/p>\n\u003cp>In more recent years, Stauffacher Solomon revisited the supergraphics style that she helped popularize, perhaps most notably for her recent SFMOMA atrium project. Joseph Becker, SFMOMA’s Associate Curator of Architecture and Design, said he had been collaborating with Stauffacher Solomon for years, describing her as “an incredible sparring partner and visionary who suffered no fools.” \u003c/p>\n\u003cfigure id=\"attachment_13957524\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13957524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie and granddaughter Fia. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She overcame tremendous adversity in the early part of her career, developing her own graphic design practice in a world not hospitable to women setting out on their own and making a name for themselves,” Becker said. “One of the reasons was because she had an exacting vision and attitude. To work with someone like that, even though she was 95, her clarity was undeniable. She knew exactly what she wanted, saw all sides of the project.”\u003c/p>\n\u003cp>The museum currently has new Stauffacher Solomon work that it’s partnering with the City of San Francisco to present: a massive, 300-foot-long \u003ca href=\"https://www.sfartscommission.org/content/minna-natoma-art-corridor-project-street-paving\">street paving project on Minna Street\u003c/a> featuring a graphic pattern made of red boots as an homage to Minna Rae Simpson, the street’s supposed namesake.\u003c/p>\n\u003cp>“What an absolute San Francisco treasure,” Becker said of Stauffacher Solomon. “Hands down, one of the best.”\u003c/p>\n\u003cfigure id=\"attachment_13957523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg\" alt=\"\" width=\"1920\" height=\"1443\" class=\"size-full wp-image-13957523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, going through some of her many files. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder, who met Stauffacher Solomon in 2019, said he “clicked [with her] in a way I never clicked with any friend ever.” Working closely with her as her “accomplice” these past few years, he says what he learned most from her is that you “can have an absolutely wonderful life without trying to please everybody.”\u003c/p>\n\u003cp>“Truthfully, she was incredibly prickly to a lot of people, and incredibly sweet and devoted to others,” Grunder said.\u003c/p>\n\u003cp>In recent years, he said, what Stauffacher Solomon seemed proudest of were her books — many of them an eccentric mix of drawings, abstractions and some rhyming text. The one she’d just completed, \u003cem>See the Invisible\u003c/em>, due to be released by \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> later this year, focuses on a theme Grunder says Stauffacher Solomon was obsessed with: making things that are visible invisible — with how design can be almost entirely invisible.\u003c/p>\n\u003cfigure id=\"attachment_13839103\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg\" alt=\"Installation view of Barbara Stauffacher Solomon's 'Land(e)scape 2018' at BAMPFA.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13839103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Barbara Stauffacher Solomon’s ‘Land(e)scape 2018’ at BAMPFA. \u003ccite>(Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder recalls a time when Stauffacher Solomon referred, offhandedly, to her signs on Market Street in San Francisco. “Maybe you’re confused,” Grunder remembers saying to her. When did she ever get commissioned to do an installation on Market Street? So, she sent him down to Market and 3rd and had him look: “There, there,” she told him.\u003c/p>\n\u003cp>As it turns out, Stauffacher Solomon had designed the \u003cem>\u003ca href=\"https://www.google.com/maps/@37.7879043,-122.4033387,3a,75y,204.09h,101.03t/data=!3m7!1e1!3m5!1shUg8nuEWC6jtk-GaO4ZOgA!2e0!6shttps:%2F%2Fstreetviewpixels-pa.googleapis.com%2Fv1%2Fthumbnail%3Fpanoid%3DhUg8nuEWC6jtk-GaO4ZOgA%26cb_client%3Dmaps_sv.share%26w%3D900%26h%3D600%26yaw%3D204.08666956826983%26pitch%3D-11.025780054833689%26thumbfov%3D90!7i16384!8i8192?coh=205410&entry=ttu\">actual street signs\u003c/a>\u003c/em>. “Ta-da,” she said, when he finally made the connection.\u003c/p>\n\u003cp>As SFMOMA’s Becker put it, “We’re surrounded by works by Bobbie even if we’re not aware of it,” using the name used by Stauffacher Solomon’s friends.\u003c/p>\n\u003cfigure id=\"attachment_13957525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13957525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie, granddaughter Fia, and a display of her work. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having spent much of the past decade fielding questions about legacy, Stauffacher Solomon was delighted to surprise one such inquisitor by saying she’d like to be remembered “for being a good mommy.” According to Solomon, her mother really did view herself as a mother and a grandmother first, even before her career, as someone who made the conscious choice to “build the next generation and have the best work of your life.” \u003c/p>\n\u003cp>“Because the art world and the design world are primarily a man’s world, they want you to choose between the two. I think that’s antiquated and ridiculous,” Solomon said. In that way, she believes that she and her own 16-year-old daughter, Fia — a budding singer-songwriter in her own right — are tasked with carrying on Stauffacher Solomon’s true legacy.\u003c/p>\n\u003cp>On Sunday, May 12, at 3 p.m., the family will hold a public memorial for Stauffacher Solomon at \u003ca href=\"https://presidio.gov/explore/attractions/crissy-field-east-beach\">Crissy Field East Beach\u003c/a>, in front of the changing rooms. “That was where she used to walk her dog Jake,” Solomon said. “The beach is where she hung out.” \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>She hopes friends, colleagues and other well-wishers who knew her mother will come ready with stories to share to give her a proper send-off.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary","authors":["11743"],"categories":["arts_1","arts_235","arts_1564","arts_70"],"tags":["arts_10278","arts_1091","arts_21789","arts_1146","arts_1381"],"featImg":"arts_13957522","label":"arts"},"arts_13957227":{"type":"posts","id":"arts_13957227","meta":{"index":"posts_1591205157","site":"arts","id":"13957227","score":null,"sort":[1714774495000]},"guestAuthors":[],"slug":"gary-floyd-san-francisco-queer-punk-iconoclast-has-died","title":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died","publishDate":1714774495,"format":"standard","headTitle":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Punk rock legend Gary Floyd, an unapologetic singer who helped start the queercore movement in the 1980s, has died from congenital heart failure at 71 years old, \u003ca href=\"https://www.austinchronicle.com/daily/music/2024-05-03/gary-floyd-scene-defining-singer-of-austin-punks-the-dicks-has-died/\">\u003cem>The Austin Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>In music as in life, Floyd championed anti-fascist, anti-oppression causes. Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/z8O2ToQ_Dok?si=V9Teqg2qW9BhGo_Q\u003c/p>\n\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/FStWWeWOXJA?si=Gpp4086tEAN-VIat\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n","blocks":[],"excerpt":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. ","status":"publish","parent":0,"modified":1714775102,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":400},"headData":{"title":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died | KQED","description":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died","datePublished":"2024-05-03T22:14:55.000Z","dateModified":"2024-05-03T22:25:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957227","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957227/gary-floyd-san-francisco-queer-punk-iconoclast-has-died","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Punk rock legend Gary Floyd, an unapologetic singer who helped start the queercore movement in the 1980s, has died from congenital heart failure at 71 years old, \u003ca href=\"https://www.austinchronicle.com/daily/music/2024-05-03/gary-floyd-scene-defining-singer-of-austin-punks-the-dicks-has-died/\">\u003cem>The Austin Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>In music as in life, Floyd championed anti-fascist, anti-oppression causes. Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\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>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/z8O2ToQ_Dok'\n title='//www.youtube.com/embed/z8O2ToQ_Dok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FStWWeWOXJA'\n title='//www.youtube.com/embed/FStWWeWOXJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957227/gary-floyd-san-francisco-queer-punk-iconoclast-has-died","authors":["11387"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_10278","arts_913","arts_1079"],"featImg":"arts_13957230","label":"arts"},"arts_13957143":{"type":"posts","id":"arts_13957143","meta":{"index":"posts_1591205157","site":"arts","id":"13957143","score":null,"sort":[1714688541000]},"guestAuthors":[],"slug":"late-night-japanese-whisky-highball-karaage-sunnyvale-nokori","title":"Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage","publishDate":1714688541,"format":"aside","headTitle":"Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13957148\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg\" alt=\"Illustration: a man shovels scallops into his mouth while sitting at an elegant bar. On the counter are tidy lobster sandwiches and fizzy cocktails in highball glasses.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nokori is a Japanese whisky highball bar hidden inside Sunnyvale’s TETRA Hotel. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Here in the Bay Area, the search for late-night food is mostly a matter of excavating the unexpected gems that are hiding in plain sight.\u003c/p>\n\u003cp>To wit: In order to get to \u003ca href=\"https://www.yelp.com/biz/nokori-sunnyvale\">Nokori\u003c/a>, an elegant Japanese whisky bar in Sunnyvale that most Sunnyvaleans haven’t even heard of, you first have to navigate the city’s maze of identical high-tech office parks. Sandwiched between a couple of these anonymous tech campuses sits a \u003ca href=\"https://www.marriott.com/en-us/hotels/sjcva-tetra-hotel-autograph-collection/overview/\">stylish boutique hotel\u003c/a>. And inside that hotel, after you walk through the cool, minimalistic lobby, past the shiny gold leaves dangling from the ceiling, you’ll spot this very chic, very Japanese little cocktail bar — with room for no more than seven or eight people at the counter.\u003c/p>\n\u003cp>When we sidled up to that counter at around 10 o’clock on a recent Friday, there was only one other gentleman there, nursing a cocktail and watching the Japanese F1 race on the TV with the volume turned off. So it really felt like we had stumbled on a secret spot.\u003c/p>\n\u003cp>Of course, we had come because we’d heard Nokori was open until midnight every night, and that it served a concise, appealing menu of fancy izakaya-style small plates until the kitchen did its last call at 11. And also because the bar specializes in the Japanese whisky highball, which happens to be my favorite drink.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A basic highball is just Japanese whisky, soda water and ice, but Nokori is one of a handful of bars around the Bay Area that has installed a \u003ca href=\"https://punchdrink.com/articles/toki-japanese-whisky-highball-machine-has-been-hacked/\">special soda dispenser\u003c/a> from Japan that makes the soda water extra-extra fizzy — so much so that the bubbles look visibly angry. The bar serves a whopping nine different highballs, and it uses the expensive kind of ice that’s just one long, perfectly clear cuboid in your glass. All of which to say: My yuzu highball was fantastic. Cold and refreshing as could be. Subtly citrusy. Sneakily strong.\u003c/p>\n\u003cfigure id=\"attachment_13957149\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg\" alt=\"Illustration: An elegant hotel lobby with modern, minimalist couches and an elegant bar at one end of the room, with sparkly gold leaves dangling from the ceiling.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For late-night diners looking for a more quiet and chill experience. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the food, however, that will bring me back. We ordered torched Hokkaido scallops that were served in a style you might expect to find at one of the Bay Area’s buzzier, Asian-inflected fine dining restaurants. The mostly raw scallops had a zippy leche de tigre dressing and were artfully garnished with algae, rice puffs and briny sea grapes that burst in your mouth — a fun pop-and-crunch effect.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13956683,arts_13955884,arts_13954112']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>I also had one of the tastiest versions of Japanese karaage-style fried chicken that I’ve eaten in months — just impeccably crispy, well-seasoned and juicy thighs, no bells and whistles other than the little bowl of watery onion salsa that you could spoon over the chicken for a bit of brightness. And, perhaps most decadently, there were furikake-topped lobster grilled cheese sandwiches, served on bouncy Japanese milk bread. (Could I \u003ci>really\u003c/i> taste that it was lobster, instead of some less rarefied protein, under all that cheese? Maybe not. But I did want to dunk everything on the table into the savory miso aioli that came with the sandwich.)\u003c/p>\n\u003cp>No surprise, all those small plates can add up to a bit of a hefty bill if you’re eating \u003ci>dinner\u003c/i> dinner. But for a fancy late-night snack at the bar? Considering that we were the only people ordering food at that hour, everything was so much more ambitious and better-tasting than it really needed to be.\u003c/p>\n\u003cp>So many of the Bay Area’s other after-hours spots are notable because of how crowded and bustling they are even late into the night, but Nokori’s virtues run in the opposite direction, appealing to anyone looking for a more chill and quiet late-night experience. This is the kind of elegant hotel bar where you might imagine yourself striking up a conversation with a beautiful stranger, or maybe your side-piece — or, if luck isn’t on your side, a couple of unkempt food writer types.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tetrahotelsv.com/dining/nokori/\">\u003ci>Nokori\u003c/i>\u003c/a>\u003ci> is open daily from 3 p.m. to midnight inside TETRA Hotel (400 W. Java Dr., Sunnyvale); the kitchen is open 4–11 p.m. If you park in the hotel parking garage, Nokori will validate your parking.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Nokori's highballs and Japanese small plates are some of the South Bay’s best-kept secrets.","status":"publish","parent":0,"modified":1714691484,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":803},"headData":{"title":"Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage | KQED","description":"Nokori's highballs and Japanese small plates are some of the South Bay’s best-kept secrets.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage","datePublished":"2024-05-02T22:22:21.000Z","dateModified":"2024-05-02T23:11:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"nprStoryId":"kqed-13957143","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957143/late-night-japanese-whisky-highball-karaage-sunnyvale-nokori","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957148\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg\" alt=\"Illustration: a man shovels scallops into his mouth while sitting at an elegant bar. On the counter are tidy lobster sandwiches and fizzy cocktails in highball glasses.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nokori is a Japanese whisky highball bar hidden inside Sunnyvale’s TETRA Hotel. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Here in the Bay Area, the search for late-night food is mostly a matter of excavating the unexpected gems that are hiding in plain sight.\u003c/p>\n\u003cp>To wit: In order to get to \u003ca href=\"https://www.yelp.com/biz/nokori-sunnyvale\">Nokori\u003c/a>, an elegant Japanese whisky bar in Sunnyvale that most Sunnyvaleans haven’t even heard of, you first have to navigate the city’s maze of identical high-tech office parks. Sandwiched between a couple of these anonymous tech campuses sits a \u003ca href=\"https://www.marriott.com/en-us/hotels/sjcva-tetra-hotel-autograph-collection/overview/\">stylish boutique hotel\u003c/a>. And inside that hotel, after you walk through the cool, minimalistic lobby, past the shiny gold leaves dangling from the ceiling, you’ll spot this very chic, very Japanese little cocktail bar — with room for no more than seven or eight people at the counter.\u003c/p>\n\u003cp>When we sidled up to that counter at around 10 o’clock on a recent Friday, there was only one other gentleman there, nursing a cocktail and watching the Japanese F1 race on the TV with the volume turned off. So it really felt like we had stumbled on a secret spot.\u003c/p>\n\u003cp>Of course, we had come because we’d heard Nokori was open until midnight every night, and that it served a concise, appealing menu of fancy izakaya-style small plates until the kitchen did its last call at 11. And also because the bar specializes in the Japanese whisky highball, which happens to be my favorite drink.\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>A basic highball is just Japanese whisky, soda water and ice, but Nokori is one of a handful of bars around the Bay Area that has installed a \u003ca href=\"https://punchdrink.com/articles/toki-japanese-whisky-highball-machine-has-been-hacked/\">special soda dispenser\u003c/a> from Japan that makes the soda water extra-extra fizzy — so much so that the bubbles look visibly angry. The bar serves a whopping nine different highballs, and it uses the expensive kind of ice that’s just one long, perfectly clear cuboid in your glass. All of which to say: My yuzu highball was fantastic. Cold and refreshing as could be. Subtly citrusy. Sneakily strong.\u003c/p>\n\u003cfigure id=\"attachment_13957149\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg\" alt=\"Illustration: An elegant hotel lobby with modern, minimalist couches and an elegant bar at one end of the room, with sparkly gold leaves dangling from the ceiling.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For late-night diners looking for a more quiet and chill experience. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the food, however, that will bring me back. We ordered torched Hokkaido scallops that were served in a style you might expect to find at one of the Bay Area’s buzzier, Asian-inflected fine dining restaurants. The mostly raw scallops had a zippy leche de tigre dressing and were artfully garnished with algae, rice puffs and briny sea grapes that burst in your mouth — a fun pop-and-crunch effect.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956683,arts_13955884,arts_13954112","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>I also had one of the tastiest versions of Japanese karaage-style fried chicken that I’ve eaten in months — just impeccably crispy, well-seasoned and juicy thighs, no bells and whistles other than the little bowl of watery onion salsa that you could spoon over the chicken for a bit of brightness. And, perhaps most decadently, there were furikake-topped lobster grilled cheese sandwiches, served on bouncy Japanese milk bread. (Could I \u003ci>really\u003c/i> taste that it was lobster, instead of some less rarefied protein, under all that cheese? Maybe not. But I did want to dunk everything on the table into the savory miso aioli that came with the sandwich.)\u003c/p>\n\u003cp>No surprise, all those small plates can add up to a bit of a hefty bill if you’re eating \u003ci>dinner\u003c/i> dinner. But for a fancy late-night snack at the bar? Considering that we were the only people ordering food at that hour, everything was so much more ambitious and better-tasting than it really needed to be.\u003c/p>\n\u003cp>So many of the Bay Area’s other after-hours spots are notable because of how crowded and bustling they are even late into the night, but Nokori’s virtues run in the opposite direction, appealing to anyone looking for a more chill and quiet late-night experience. This is the kind of elegant hotel bar where you might imagine yourself striking up a conversation with a beautiful stranger, or maybe your side-piece — or, if luck isn’t on your side, a couple of unkempt food writer types.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tetrahotelsv.com/dining/nokori/\">\u003ci>Nokori\u003c/i>\u003c/a>\u003ci> is open daily from 3 p.m. to midnight inside TETRA Hotel (400 W. Java Dr., Sunnyvale); the kitchen is open 4–11 p.m. If you park in the hotel parking garage, Nokori will validate your parking.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957143/late-night-japanese-whisky-highball-karaage-sunnyvale-nokori","authors":["11743","11753"],"categories":["arts_1","arts_12276","arts_235"],"tags":["arts_22055","arts_10278","arts_10422","arts_1297","arts_21732","arts_8805","arts_3001","arts_2475","arts_14954","arts_21928"],"featImg":"arts_13957147","label":"source_arts_13957143"},"arts_13957070":{"type":"posts","id":"arts_13957070","meta":{"index":"posts_1591205157","site":"arts","id":"13957070","score":null,"sort":[1714675290000]},"guestAuthors":[],"slug":"honey-mahogany-chosen-to-lead-sfs-office-of-transgender-initiatives","title":"Honey Mahogany Chosen to Lead SF's Office of Transgender Initiatives","publishDate":1714675290,"format":"standard","headTitle":"Honey Mahogany Chosen to Lead SF’s Office of Transgender Initiatives | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco Mayor London Breed has appointed multi-hyphenate community advocate, artist and former San Francisco Democratic Party Chair Honey Mahogany to lead the \u003ca href=\"https://www.sf.gov/departments/city-administrator/office-transgender-initiatives\">Office of Transgender Initiatives\u003c/a>. The office was founded in 2017 to connect San Francisco’s trans and gender-nonconforming communities to resources and advocate for their needs within city government. Mahogany’s first day is May 6.\u003c/p>\n\u003cp>“I am grateful to Mayor Breed for the opportunity to take on this role in this first of its kind office, and to fight for my community at this pivotal time in our nation’s history,” Mahogany said in a statement. “After two decades of community-based work and legislative experience, I look forward to leveraging all I have learned over the years in service of this office and the entire transgender, gender nonconforming, intersex and 2-spirit (TGNCI2S) community. I’m especially excited to be leading an extraordinary team of trans staff at the Office of Transgender Initiatives, and to work alongside longtime community leaders to continue our fight for equity and to ensure that San Francisco continues to be a sanctuary city for the trans community.” [aside postid='arts_13956246']\u003c/p>\n\u003cp>Born and raised in San Francisco, Mahogany first rose to prominence in 2013 as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em>, but quickly turned her focus to community organizing and politics. In 2017, she co-founded San Francisco’s Transgender Cultural District, the first of its kind in the country. She also served as the chief of staff for former San Francisco Supervisor Matt Haney. (She ran to replace Haney in 2022 but lost to current Supervisor Matt Dorsey.)\u003c/p>\n\u003cp>In 2023, while anti-drag and anti-trans legislation swept the nation, she co-organized last year’s \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">Drag Up! Fight Back! march\u003c/a>. Last month, she helped re-open \u003ca href=\"https://www.kqed.org/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening\">historic LGBTQ+ venue The Stud\u003c/a> as a co-founder of its worker-owner collective.\u003c/p>\n\u003cp>“Honey Mahogany is a proven champion and in her new role will work to advance San Francisco’s values of inclusion that will inspire communities everywhere and future generations,” said Breed in a statement. “I look forward to partnering with Honey to ensure our City continues to be a place of acceptance, fairness, and opportunities for all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Following Mahogany’s appointment, the Office of Transgender Initiatives will move from the City Administrator’s Office to the Human Rights Commission, which addresses causes and effects of discrimination. The office was formerly led by Pau Crego, who helped establish initiatives like Mayor Breed’s plan to end trans homelessness by 2027.\u003c/p>\n\n","blocks":[],"excerpt":"The longtime community advocate will helm the office connecting gender-nonconforming people to resources.","status":"publish","parent":0,"modified":1714675521,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":444},"headData":{"title":"Honey Mahogany Chosen to Lead SF's Office of Transgender Initiatives | KQED","description":"The longtime community advocate will helm the office connecting gender-nonconforming people to resources.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Honey Mahogany Chosen to Lead SF's Office of Transgender Initiatives","datePublished":"2024-05-02T18:41:30.000Z","dateModified":"2024-05-02T18:45:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957070","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957070/honey-mahogany-chosen-to-lead-sfs-office-of-transgender-initiatives","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed has appointed multi-hyphenate community advocate, artist and former San Francisco Democratic Party Chair Honey Mahogany to lead the \u003ca href=\"https://www.sf.gov/departments/city-administrator/office-transgender-initiatives\">Office of Transgender Initiatives\u003c/a>. The office was founded in 2017 to connect San Francisco’s trans and gender-nonconforming communities to resources and advocate for their needs within city government. Mahogany’s first day is May 6.\u003c/p>\n\u003cp>“I am grateful to Mayor Breed for the opportunity to take on this role in this first of its kind office, and to fight for my community at this pivotal time in our nation’s history,” Mahogany said in a statement. “After two decades of community-based work and legislative experience, I look forward to leveraging all I have learned over the years in service of this office and the entire transgender, gender nonconforming, intersex and 2-spirit (TGNCI2S) community. I’m especially excited to be leading an extraordinary team of trans staff at the Office of Transgender Initiatives, and to work alongside longtime community leaders to continue our fight for equity and to ensure that San Francisco continues to be a sanctuary city for the trans community.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956246","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born and raised in San Francisco, Mahogany first rose to prominence in 2013 as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em>, but quickly turned her focus to community organizing and politics. In 2017, she co-founded San Francisco’s Transgender Cultural District, the first of its kind in the country. She also served as the chief of staff for former San Francisco Supervisor Matt Haney. (She ran to replace Haney in 2022 but lost to current Supervisor Matt Dorsey.)\u003c/p>\n\u003cp>In 2023, while anti-drag and anti-trans legislation swept the nation, she co-organized last year’s \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">Drag Up! Fight Back! march\u003c/a>. Last month, she helped re-open \u003ca href=\"https://www.kqed.org/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening\">historic LGBTQ+ venue The Stud\u003c/a> as a co-founder of its worker-owner collective.\u003c/p>\n\u003cp>“Honey Mahogany is a proven champion and in her new role will work to advance San Francisco’s values of inclusion that will inspire communities everywhere and future generations,” said Breed in a statement. “I look forward to partnering with Honey to ensure our City continues to be a place of acceptance, fairness, and opportunities for all.”\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>Following Mahogany’s appointment, the Office of Transgender Initiatives will move from the City Administrator’s Office to the Human Rights Commission, which addresses causes and effects of discrimination. The office was formerly led by Pau Crego, who helped establish initiatives like Mayor Breed’s plan to end trans homelessness by 2027.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957070/honey-mahogany-chosen-to-lead-sfs-office-of-transgender-initiatives","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_3226","arts_4953","arts_1146"],"featImg":"arts_13915269","label":"arts"},"arts_13956979":{"type":"posts","id":"arts_13956979","meta":{"index":"posts_1591205157","site":"arts","id":"13956979","score":null,"sort":[1714670010000]},"guestAuthors":[],"slug":"art-of-noise-sfmoma-music-fillmore-stereo-review","title":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","publishDate":1714670010,"format":"standard","headTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>[aside postID='arts_13414955']The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Elegant design, strange stereos and hundreds of music posters make up this scattershot but fun exhibition.","status":"publish","parent":0,"modified":1714847779,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":979},"headData":{"title":"Review: ‘Art of Noise’ at SFMOMA Explores Our Weird Musical Ways | KQED","description":"Elegant design, strange stereos and hundreds of music posters make up this scattershot but fun exhibition.","ogTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","ogDescription":"","ogImgId":"","twTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","twDescription":"","twImgId":"","socialTitle":"Review: ‘Art of Noise’ at SFMOMA Explores Our Weird Musical Ways %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","datePublished":"2024-05-02T17:13:30.000Z","dateModified":"2024-05-04T18:36:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956979","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956979/art-of-noise-sfmoma-music-fillmore-stereo-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13414955","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\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>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956979/art-of-noise-sfmoma-music-fillmore-stereo-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_76","arts_69","arts_235","arts_70"],"tags":["arts_10278","arts_1806","arts_831","arts_1420","arts_769","arts_22122","arts_1146","arts_1381","arts_585"],"featImg":"arts_13957027","label":"arts_140"},"arts_13956901":{"type":"posts","id":"arts_13956901","meta":{"index":"posts_1591205157","site":"arts","id":"13956901","score":null,"sort":[1714518854000]},"guestAuthors":[],"slug":"fourth-street-market-hall-foods-berkeley-closed","title":"Berkeley's Market Hall Foods Is Closing After 28 Years","publishDate":1714518854,"format":"standard","headTitle":"Berkeley’s Market Hall Foods Is Closing After 28 Years | KQED","labelTerm":{},"content":"\u003cp>Anyone who has ever perused the quaint aisles of specialty cheeses, imported pastas, organic jams and much more at \u003ca href=\"https://www.instagram.com/markethallfoods/\">Market Hall Foods\u003c/a> on Fourth Street in Berkeley will be saddened to hear that the 28-year specialty grocer will be shuttering next month. Market Hall’s flagship location in Rockridge will remain open.\u003c/p>\n\u003cp>Open since 1996, the upscale shop (formerly known as The Pasta Shop) has always been the kind of place where you’d run into local chefs stocking up on hard-to-find goods — a reliable little market where you could pop by for a quality lunch on the go. It’s also been \u003ca href=\"https://edibleeastbay.com/2017/11/15/market-hall-at-30/\">a cornerstone for locally-sourced ingredients and high-quality products\u003c/a> long before it became a national trend.\u003c/p>\n\u003cp>[aside postID='arts_13954342,arts_13931296']The market’s Berkeley location is slated for its final day on Sunday, May 26 (Memorial Day weekend). Customers will be able to continue shopping there for the next few weeks. After that, there won’t be any remaining grocery options in the Fourth Street shopping district proper, though a Trader Joe’s, a Whole Foods and Berkeley Bowl West all continue to operate nearby.\u003c/p>\n\u003cp>In a heartfelt \u003ca href=\"https://rockridgemarkethall.com/images/mf4_announcement.pdf\">public letter\u003c/a> released earlier today, co-owner Sara E. Wilson — who founded the original shop in Oakland in 1987 with her two brothers, Tony and Peter — stated a variety of post-COVID economic factors that has led to the difficult decision. “We recognize that this closure is the best way to ensure the strength of our overall business,” she says.\u003c/p>\n\u003cp>It’s the latest in an ongoing slew of small, local businesses having to unexpectedly pivot — either by downsizing or closing completely — due to various cost factors in an ever-expensive Bay Area economy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Like many other retailers and food establishments, we have been experiencing new challenges post-COVID… with more people working from home, we could no longer rely on those customers.”\u003c/p>\n\u003cp>In addition to serving fewer customers than in the past, the letter also references how remaining customers ”have become more cautious with their spending and are buying fewer items.” They make clear that the building owners did not raise rent or anything of the sort, instead citing “shifts in customer patterns” as an unscalable financial barrier.\u003c/p>\n\u003cfigure id=\"attachment_13956921\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg\" alt='Exterior facade of a specialty grocery store. The sign reads, \"Market Hall Foods on 4th.\"' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s final day of business will be May 26. \u003ccite>(Courtesy of Market Hall Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson also cited how it has been challenging for the company “to cover increased wage and benefit costs” — a reference, perhaps, to the City of Berkeley’s recent increase of its minimum wage to $20 per hour.\u003c/p>\n\u003cp>Fortunately, the market’s sister location in Oakland’s Rockridge neighborhood will continue to operate. In her letter, Wilson notes that because the Rockridge location is centralized in a residential area, it has been able to better endure the challenges of a difficult economy.\u003c/p>\n\u003cp>Of the 48 employees — kitchen, bakery and retail — who will be affected by the closure, some will be transferring to the Oakland location, while others will receive severance packages. They were informed on April 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For its final weekend in Berkeley, Market Hall Foods will host a “closing celebration,” with more details to be announced shortly.\u003c/p>\n\n","blocks":[],"excerpt":"The locally-adored Fourth St. market is unexpectedly shuttering due to post-COVID challenges.","status":"publish","parent":0,"modified":1714537959,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":561},"headData":{"title":"Berkeley's Market Hall Foods Is Closing After 28 Years | KQED","description":"The locally-adored Fourth St. market is unexpectedly shuttering due to post-COVID challenges.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Berkeley's Market Hall Foods Is Closing After 28 Years","datePublished":"2024-04-30T23:14:14.000Z","dateModified":"2024-05-01T04:32:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13956901","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956901/fourth-street-market-hall-foods-berkeley-closed","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone who has ever perused the quaint aisles of specialty cheeses, imported pastas, organic jams and much more at \u003ca href=\"https://www.instagram.com/markethallfoods/\">Market Hall Foods\u003c/a> on Fourth Street in Berkeley will be saddened to hear that the 28-year specialty grocer will be shuttering next month. Market Hall’s flagship location in Rockridge will remain open.\u003c/p>\n\u003cp>Open since 1996, the upscale shop (formerly known as The Pasta Shop) has always been the kind of place where you’d run into local chefs stocking up on hard-to-find goods — a reliable little market where you could pop by for a quality lunch on the go. It’s also been \u003ca href=\"https://edibleeastbay.com/2017/11/15/market-hall-at-30/\">a cornerstone for locally-sourced ingredients and high-quality products\u003c/a> long before it became a national trend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954342,arts_13931296","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The market’s Berkeley location is slated for its final day on Sunday, May 26 (Memorial Day weekend). Customers will be able to continue shopping there for the next few weeks. After that, there won’t be any remaining grocery options in the Fourth Street shopping district proper, though a Trader Joe’s, a Whole Foods and Berkeley Bowl West all continue to operate nearby.\u003c/p>\n\u003cp>In a heartfelt \u003ca href=\"https://rockridgemarkethall.com/images/mf4_announcement.pdf\">public letter\u003c/a> released earlier today, co-owner Sara E. Wilson — who founded the original shop in Oakland in 1987 with her two brothers, Tony and Peter — stated a variety of post-COVID economic factors that has led to the difficult decision. “We recognize that this closure is the best way to ensure the strength of our overall business,” she says.\u003c/p>\n\u003cp>It’s the latest in an ongoing slew of small, local businesses having to unexpectedly pivot — either by downsizing or closing completely — due to various cost factors in an ever-expensive Bay Area economy.\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>“Like many other retailers and food establishments, we have been experiencing new challenges post-COVID… with more people working from home, we could no longer rely on those customers.”\u003c/p>\n\u003cp>In addition to serving fewer customers than in the past, the letter also references how remaining customers ”have become more cautious with their spending and are buying fewer items.” They make clear that the building owners did not raise rent or anything of the sort, instead citing “shifts in customer patterns” as an unscalable financial barrier.\u003c/p>\n\u003cfigure id=\"attachment_13956921\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg\" alt='Exterior facade of a specialty grocery store. The sign reads, \"Market Hall Foods on 4th.\"' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s final day of business will be May 26. \u003ccite>(Courtesy of Market Hall Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson also cited how it has been challenging for the company “to cover increased wage and benefit costs” — a reference, perhaps, to the City of Berkeley’s recent increase of its minimum wage to $20 per hour.\u003c/p>\n\u003cp>Fortunately, the market’s sister location in Oakland’s Rockridge neighborhood will continue to operate. In her letter, Wilson notes that because the Rockridge location is centralized in a residential area, it has been able to better endure the challenges of a difficult economy.\u003c/p>\n\u003cp>Of the 48 employees — kitchen, bakery and retail — who will be affected by the closure, some will be transferring to the Oakland location, while others will receive severance packages. They were informed on April 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For its final weekend in Berkeley, Market Hall Foods will host a “closing celebration,” with more details to be announced shortly.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956901/fourth-street-market-hall-foods-berkeley-closed","authors":["11748"],"categories":["arts_1","arts_12276","arts_235"],"tags":["arts_1270","arts_10331","arts_5569","arts_10278","arts_1297"],"featImg":"arts_13956906","label":"source_arts_13956901"},"arts_13956845":{"type":"posts","id":"arts_13956845","meta":{"index":"posts_1591205157","site":"arts","id":"13956845","score":null,"sort":[1714504530000]},"guestAuthors":[],"slug":"legal-weddings-married-outisde-lands-city-hall","title":"You Can Now Get Legally Married at Outside Lands","publishDate":1714504530,"format":"standard","headTitle":"You Can Now Get Legally Married at Outside Lands | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Imagine that you’re with your sweetie during the Postal Service’s set at \u003ca href=\"https://www.kqed.org/arts/13956373/outside-lands-lineup-2024-san-francisco\">Outside Lands\u003c/a>, and you’re \u003ca href=\"https://youtu.be/0wrsZog8qXg?si=BauxWOBgK3aEI_9k\">thinking it’s a sign that the freckles in your eyes are mirror images\u003c/a>, and when you kiss they’re perfectly aligned. If you know you want to spend forever with this person, good news: you can now get legally married at Outside Lands. [aside postid='arts_13956373']\u003c/p>\n\u003cp>When the music festival returns to San Francisco’s Golden Gate Park this August, it will feature a wedding venue called \u003ca href=\"https://sfoutsidelands.com/city-hall/city-hall/\">City Hall\u003c/a>. Ticketholders looking to tie the knot during the downtime between their favorite artists now have the option of a small ceremony with an officiant, wedding photographer and seating for guests. It comes with a $350 price tag (on top of festival tickets), and gives you access to a locker for the day, drink tickets and a wedding lounge to get glammed up.\u003c/p>\n\u003cp>It’s important to note that couples must B.Y.O.-\u003ca href=\"https://www.sf.gov/get-marriage-license\">marriage license\u003c/a>, which is easy to apply for online and can be picked up same day. Couples renewing their vows must bring a copy of their marriage certificate.\u003c/p>\n\u003cp>The addition of the wedding venue — located along McLaren Pass, between the Polo Fields and the Panhandle Stage — coincides with the \u003ca href=\"https://www.sf.gov/news/san-francisco-celebrates-winter-love-20-year-anniversary-marking-historic-milestone-same-sex\">20th anniversary of the “Winter of Love,”\u003c/a> when then-Mayor Gavin Newsom began issuing marriage licenses to San Francisco same-sex couples in 2004. Outside Lands plans to donate a portion of proceeds from these ceremonies to \u003ca href=\"https://lambdalegal.org/\">Lambda Legal\u003c/a>, an LGBTQ+ rights nonprofit.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Outside Lands takes place in San Francisco’s Golden Gate Park Aug. 9-11, featuring Tyler, the Creator, the Killers, Sturgill Simpson, Post Malone, Tyla, the Postal Service and more. \u003ca href=\"https://www.sfoutsidelands.com/\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Couples looking to tie the knot at the popular SF music festival can add a wedding ceremony to their tickets. ","status":"publish","parent":0,"modified":1714504530,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":302},"headData":{"title":"You Can Now Get Legally Married at Outside Lands | KQED","description":"Couples looking to tie the knot at the popular SF music festival can add a wedding ceremony to their tickets. 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If you know you want to spend forever with this person, good news: you can now get legally married at Outside Lands. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956373","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the music festival returns to San Francisco’s Golden Gate Park this August, it will feature a wedding venue called \u003ca href=\"https://sfoutsidelands.com/city-hall/city-hall/\">City Hall\u003c/a>. Ticketholders looking to tie the knot during the downtime between their favorite artists now have the option of a small ceremony with an officiant, wedding photographer and seating for guests. It comes with a $350 price tag (on top of festival tickets), and gives you access to a locker for the day, drink tickets and a wedding lounge to get glammed up.\u003c/p>\n\u003cp>It’s important to note that couples must B.Y.O.-\u003ca href=\"https://www.sf.gov/get-marriage-license\">marriage license\u003c/a>, which is easy to apply for online and can be picked up same day. Couples renewing their vows must bring a copy of their marriage certificate.\u003c/p>\n\u003cp>The addition of the wedding venue — located along McLaren Pass, between the Polo Fields and the Panhandle Stage — coincides with the \u003ca href=\"https://www.sf.gov/news/san-francisco-celebrates-winter-love-20-year-anniversary-marking-historic-milestone-same-sex\">20th anniversary of the “Winter of Love,”\u003c/a> when then-Mayor Gavin Newsom began issuing marriage licenses to San Francisco same-sex couples in 2004. Outside Lands plans to donate a portion of proceeds from these ceremonies to \u003ca href=\"https://lambdalegal.org/\">Lambda Legal\u003c/a>, an LGBTQ+ rights nonprofit.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Outside Lands takes place in San Francisco’s Golden Gate Park Aug. 9-11, featuring Tyler, the Creator, the Killers, Sturgill Simpson, Post Malone, Tyla, the Postal Service and more. \u003ca href=\"https://www.sfoutsidelands.com/\">Tickets and details here\u003c/a>.\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956845/legal-weddings-married-outisde-lands-city-hall","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_2427","arts_1739"],"featImg":"arts_13933084","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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