Berkeley's Market Hall Foods Is Closing After 28 Years
You Can Now Get Legally Married at Outside Lands
Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?
The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission
SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter
Outside Lands 2024: Tyler, the Creator, The Killers and Sturgill Simpson Headline
The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening
Minnie Bell’s New Soul Food Restaurant in the Fillmore Is a Homecoming
The Oakland Library's Main Branch to Close for Six Months for Repairs
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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. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"You Can Now Get Legally Married at Outside Lands","datePublished":"2024-04-30T19:15:30.000Z","dateModified":"2024-04-30T19:15:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956845","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956845/legal-weddings-married-outisde-lands-city-hall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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. \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"},"arts_13956808":{"type":"posts","id":"arts_13956808","meta":{"index":"posts_1591205157","site":"arts","id":"13956808","score":null,"sort":[1714474830000]},"guestAuthors":[],"slug":"fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","title":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?","publishDate":1714474830,"format":"standard","headTitle":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else? | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Gericault De La Rose — a.k.a. Bimbo Moschino — is glowing on a warm afternoon in April, twin butterflies fluttering around her in the garden behind her apartment. She’s in head-to-toe pastels, poised and Sailor Moon chic. [aside postid='arts_13952566']\u003c/p>\n\u003cp>When she first moved to Oakland from Chicago in 2021 to get her MFA at UC Berkeley, De La Rose didn’t feel this sure of herself. She didn’t have a community.\u003c/p>\n\u003cp>“I had to start over,” she says. “I literally cried every weekend.”\u003c/p>\n\u003cp>Unbeknownst to her, the revival of a queer subculture was just starting to pop off in her neighborhood. It would redefine her life in the Bay — and it was just a short walk from her front door.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One fall morning, while boredom-scrolling on Instagram in bed, she stopped on a flyer for a ballroom event at Soundwave Studios in Oakland.\u003c/p>\n\u003cp>“I was like, ‘Oh my god, Oakland has a ballroom scene?’” she remembers. “I went over by myself later that week.”\u003c/p>\n\u003cfigure id=\"attachment_13955603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s ballroom scene was where Gericault De La Rose found community. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was dark, and the music was pumping at full volume. De La Rose was wearing black tights, black short shorts, a tank top and Adidas Superstars. Her hair was long at the time, and she felt confident and elegant. The night began with the traditional “Legends, Statements, Stars” acknowledgements, which honor all the local ballroom icons who have paved the way.\u003c/p>\n\u003cp>Back then, even after years of being in the Chicago ballroom scene, De La Rose didn’t really know how to vogue. But she decided to join in anyway. That night, she got 10s from the judges for the first time in her life. [aside postid='arts_13913584']\u003c/p>\n\u003cp>De La Rose, who belongs to The Kiki House of Moschino, is part of a ballroom legacy that began in the ’70s and ’80s in New York City. Per tradition, De La Rose and her siblings compete against other houses in runway, vogue and other categories. Though ballroom has gotten mainstream attention and \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">counts Beyoncé among its fans\u003c/a>, it remains a vital way for queer and gender-nonconforming people of color come together as \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">chosen families\u003c/a> in the face of societal rejection and other forms of adversity.\u003c/p>\n\u003cp>https://www.instagram.com/p/CuHppZLRufC/?hl=en&img_index=1\u003c/p>\n\u003cp>Ballroom was the first home De La Rose found in the Bay Area. It’s also been a space where she’s been able to explore her relationship with style as a trans woman of color.\u003c/p>\n\u003cp>“It was something that I really craved,” she said. “Because yeah, there’s a lot of queer spaces in Oakland, but a lot of them are white.”\u003c/p>\n\u003cfigure id=\"attachment_13956812\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Gericault De La Rose appreciates personal style with a point of view. \u003ccite>(Martin Do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From normcore to Pokémon trainer\u003c/h2>\n\u003cp>De La Rose started medically transitioning when she was 25 years old. She says that before then, she didn’t really know what she was doing when it came to clothes.\u003c/p>\n\u003cp>“It was 100% giving Kohl’s,” she laughs. “Khakis, polo shirts — it was very normcore.”\u003c/p>\n\u003cp>But then something clicked, and an aesthetic fell into place.\u003c/p>\n\u003cp>“I was like, OK: pastels, pink,” she says. “I kind of just want to look like a Pokémon trainer, not gonna lie. Also Jules from \u003cem>Euphoria\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13956810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pastel colors are part of Gericault De La Rose’s signature look. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Rose’s quintessential silhouette is a short pleated skirt, knee-high socks, chunky sneakers and legs for days. Her proclivity for the whimsically feminine shows up in her work as a visual artist, too. For her MFA thesis show at the Berkeley Art Museum and Pacific Film Archive, De La Rose made a \u003ca href=\"https://www.instagram.com/p/CvASvGbLDhw/?hl=en&img_index=1\">chandelier\u003c/a> out of draped pastel pink, purple, yellow and blue fabric meant to “capture the splendor of transformation.”\u003c/p>\n\u003cp>“For me, being trans was not wanting to be a secret anymore,” she says. “I want to be vibrant. I want to be seen.”\u003c/p>\n\u003cp>And when De La Rose is wearing an outfit that does all that, she feels “like the baddest bitch in the world.”\u003c/p>\n\u003cp>Still, clothes shopping as a trans woman comes with its challenges.\u003c/p>\n\u003cp>“Not all clothing brands are tailored to six-foot-tall women,” she explains. “It’s really hard for me to find pants that have a feminine cut, that accentuate the hips more.”\u003c/p>\n\u003cp>So De La Rose does what queer and trans folks have always done: alter, transform and experiment, needle and thread in hand.\u003c/p>\n\u003cfigure id=\"attachment_13955720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">For Gericault De La Rose, it’s all about unique details like her safety pin ‘baby’ earring. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The category is: best dressed\u003c/h2>\n\u003cp>“The best dressed people are in the ballroom scene, no shade,” De La Rose says. “Let’s say I go to the Castro, and I go to these gay clubs. It’s giving jeans, maybe a white T-shirt and maybe a black leather jacket, copy-pasted onto everyone.”\u003c/p>\n\u003cp>De La Rose doesn’t just mean in the Bay Area: Ballroom scenes are part of LGBTQ+ communities all over the world, with some of the most influential ones in Paris and New York.\u003c/p>\n\u003cp>So what makes ballroom folks more stylish?\u003c/p>\n\u003cp>“They know their brands, and they also know how to experiment with their silhouette,” she explains. “The spectrum of masculinity to femininity is all explored.”\u003c/p>\n\u003cp>In a world of binary clothes, ballroom folks have dreamt up looks that aren’t just new and custom. They can also compete.\u003c/p>\n\u003cp>“Everything is intentional,” she says. “Because the minute you step into ballroom, the competition starts.” [aside postid='arts_13951605']\u003c/p>\n\u003cp>That innovation at a high level is what sets ballroom apart. And you know it when you see it, says De La Rose. To get her point across, she pulls up a \u003ca href=\"https://www.instagram.com/p/Cs1SLGVRkoX/?hl=en&img_index=2\">photo of her ballroom mentor, Soho,\u003c/a> after a recent Oakland to All ball.\u003c/p>\n\u003cp>He’s in a look to turns heads: long, lime green leather gloves, a white tee printed with a pointy-eared Doberman, a midi cargo skirt and a crocheted, lime green balaclava with dozens of knitted tentacles cascading from chin to chest with the caption, “Urban Streetwear w/ a touch of Futurama Cunt 👽🛸.”\u003c/p>\n\u003cp>The outfit is stunning, daring and tells an otherworldly story. It’s a feast in texture alone. It’s the anti-copy paste. And it’s exactly what De La Rose is talking about.\u003c/p>\n\u003cp>De La Rose pulls up another photo, this one of her ballroom brother, Clover, in a look that masters layering and proportions.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Creativity,” she says, zooming in. “Like, hello! You see what I mean?”\u003c/p>\n\n","blocks":[],"excerpt":"Performer Bimbo Moschino offers her take on who’s giving normcore and who’s setting the standard.","status":"publish","parent":0,"modified":1714440813,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1227},"headData":{"title":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else? | KQED","description":"Performer Bimbo Moschino offers her take on who’s giving normcore and who’s setting the standard.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?","datePublished":"2024-04-30T11:00:30.000Z","dateModified":"2024-04-30T01:33:33.000Z","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/13956808/fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Gericault De La Rose — a.k.a. Bimbo Moschino — is glowing on a warm afternoon in April, twin butterflies fluttering around her in the garden behind her apartment. She’s in head-to-toe pastels, poised and Sailor Moon chic. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952566","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she first moved to Oakland from Chicago in 2021 to get her MFA at UC Berkeley, De La Rose didn’t feel this sure of herself. She didn’t have a community.\u003c/p>\n\u003cp>“I had to start over,” she says. “I literally cried every weekend.”\u003c/p>\n\u003cp>Unbeknownst to her, the revival of a queer subculture was just starting to pop off in her neighborhood. It would redefine her life in the Bay — and it was just a short walk from her front door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One fall morning, while boredom-scrolling on Instagram in bed, she stopped on a flyer for a ballroom event at Soundwave Studios in Oakland.\u003c/p>\n\u003cp>“I was like, ‘Oh my god, Oakland has a ballroom scene?’” she remembers. “I went over by myself later that week.”\u003c/p>\n\u003cfigure id=\"attachment_13955603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s ballroom scene was where Gericault De La Rose found community. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was dark, and the music was pumping at full volume. De La Rose was wearing black tights, black short shorts, a tank top and Adidas Superstars. Her hair was long at the time, and she felt confident and elegant. The night began with the traditional “Legends, Statements, Stars” acknowledgements, which honor all the local ballroom icons who have paved the way.\u003c/p>\n\u003cp>Back then, even after years of being in the Chicago ballroom scene, De La Rose didn’t really know how to vogue. But she decided to join in anyway. That night, she got 10s from the judges for the first time in her life. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913584","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De La Rose, who belongs to The Kiki House of Moschino, is part of a ballroom legacy that began in the ’70s and ’80s in New York City. Per tradition, De La Rose and her siblings compete against other houses in runway, vogue and other categories. Though ballroom has gotten mainstream attention and \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">counts Beyoncé among its fans\u003c/a>, it remains a vital way for queer and gender-nonconforming people of color come together as \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">chosen families\u003c/a> in the face of societal rejection and other forms of adversity.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CuHppZLRufC"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ballroom was the first home De La Rose found in the Bay Area. It’s also been a space where she’s been able to explore her relationship with style as a trans woman of color.\u003c/p>\n\u003cp>“It was something that I really craved,” she said. “Because yeah, there’s a lot of queer spaces in Oakland, but a lot of them are white.”\u003c/p>\n\u003cfigure id=\"attachment_13956812\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Gericault De La Rose appreciates personal style with a point of view. \u003ccite>(Martin Do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From normcore to Pokémon trainer\u003c/h2>\n\u003cp>De La Rose started medically transitioning when she was 25 years old. She says that before then, she didn’t really know what she was doing when it came to clothes.\u003c/p>\n\u003cp>“It was 100% giving Kohl’s,” she laughs. “Khakis, polo shirts — it was very normcore.”\u003c/p>\n\u003cp>But then something clicked, and an aesthetic fell into place.\u003c/p>\n\u003cp>“I was like, OK: pastels, pink,” she says. “I kind of just want to look like a Pokémon trainer, not gonna lie. Also Jules from \u003cem>Euphoria\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13956810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pastel colors are part of Gericault De La Rose’s signature look. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Rose’s quintessential silhouette is a short pleated skirt, knee-high socks, chunky sneakers and legs for days. Her proclivity for the whimsically feminine shows up in her work as a visual artist, too. For her MFA thesis show at the Berkeley Art Museum and Pacific Film Archive, De La Rose made a \u003ca href=\"https://www.instagram.com/p/CvASvGbLDhw/?hl=en&img_index=1\">chandelier\u003c/a> out of draped pastel pink, purple, yellow and blue fabric meant to “capture the splendor of transformation.”\u003c/p>\n\u003cp>“For me, being trans was not wanting to be a secret anymore,” she says. “I want to be vibrant. I want to be seen.”\u003c/p>\n\u003cp>And when De La Rose is wearing an outfit that does all that, she feels “like the baddest bitch in the world.”\u003c/p>\n\u003cp>Still, clothes shopping as a trans woman comes with its challenges.\u003c/p>\n\u003cp>“Not all clothing brands are tailored to six-foot-tall women,” she explains. “It’s really hard for me to find pants that have a feminine cut, that accentuate the hips more.”\u003c/p>\n\u003cp>So De La Rose does what queer and trans folks have always done: alter, transform and experiment, needle and thread in hand.\u003c/p>\n\u003cfigure id=\"attachment_13955720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">For Gericault De La Rose, it’s all about unique details like her safety pin ‘baby’ earring. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The category is: best dressed\u003c/h2>\n\u003cp>“The best dressed people are in the ballroom scene, no shade,” De La Rose says. “Let’s say I go to the Castro, and I go to these gay clubs. It’s giving jeans, maybe a white T-shirt and maybe a black leather jacket, copy-pasted onto everyone.”\u003c/p>\n\u003cp>De La Rose doesn’t just mean in the Bay Area: Ballroom scenes are part of LGBTQ+ communities all over the world, with some of the most influential ones in Paris and New York.\u003c/p>\n\u003cp>So what makes ballroom folks more stylish?\u003c/p>\n\u003cp>“They know their brands, and they also know how to experiment with their silhouette,” she explains. “The spectrum of masculinity to femininity is all explored.”\u003c/p>\n\u003cp>In a world of binary clothes, ballroom folks have dreamt up looks that aren’t just new and custom. They can also compete.\u003c/p>\n\u003cp>“Everything is intentional,” she says. “Because the minute you step into ballroom, the competition starts.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951605","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That innovation at a high level is what sets ballroom apart. And you know it when you see it, says De La Rose. To get her point across, she pulls up a \u003ca href=\"https://www.instagram.com/p/Cs1SLGVRkoX/?hl=en&img_index=2\">photo of her ballroom mentor, Soho,\u003c/a> after a recent Oakland to All ball.\u003c/p>\n\u003cp>He’s in a look to turns heads: long, lime green leather gloves, a white tee printed with a pointy-eared Doberman, a midi cargo skirt and a crocheted, lime green balaclava with dozens of knitted tentacles cascading from chin to chest with the caption, “Urban Streetwear w/ a touch of Futurama Cunt 👽🛸.”\u003c/p>\n\u003cp>The outfit is stunning, daring and tells an otherworldly story. It’s a feast in texture alone. It’s the anti-copy paste. And it’s exactly what De La Rose is talking about.\u003c/p>\n\u003cp>De La Rose pulls up another photo, this one of her ballroom brother, Clover, in a look that masters layering and proportions.\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>“Creativity,” she says, zooming in. “Like, hello! You see what I mean?”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956808/fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","authors":["11872"],"categories":["arts_1","arts_966","arts_76","arts_235"],"tags":["arts_1696","arts_10278","arts_10422","arts_21953","arts_3226"],"featImg":"arts_13955604","label":"arts"},"arts_13956554":{"type":"posts","id":"arts_13956554","meta":{"index":"posts_1591205157","site":"arts","id":"13956554","score":null,"sort":[1713993863000]},"guestAuthors":[],"slug":"loco-bloco-mission-district-carnaval-jediah-pratt","title":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission","publishDate":1713993863,"format":"standard","headTitle":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The booming sounds can be heard in the Mission District all the way down the block. From inside a brightly painted building on 24th Street, upstairs at the Brava Theater Center, 20 drummers pound out a rhythm for nearly three dozen dancers, shaking the floor as they move. \u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg\" alt=\"\" width=\"160\" height=\"190\" class=\"alignright size-thumbnail wp-image-13956328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is a typical weeknight rehearsal for \u003ca href=\"https://www.locoblocosf.org/\">Loco Bloco\u003c/a>, whose performers are currently working for hours on end to master intricate choreography and complex drum patterns for their performance at San Francisco’s massive \u003ca href=\"https://carnavalsanfrancisco.org/\">Carnaval celebration\u003c/a> in May. \u003c/p>\n\u003cp>A donations-based organization offering free dance and music classes to young people, Loco Bloco primarily serves the Latin and Afro-Latino communities in the Bay Area. Since its founding in 1994, Loco Bloco has influenced countless young participants, giving them a sense of community, stability and core values.\u003c/p>\n\u003cfigure id=\"attachment_13956568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antonio ‘Tico’ Dos Santos leads a Loco Bloco drum lesson at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prime example of this is 15-year-old dancer Jediah Pratt, who began dancing with Loco Bloco when she was just 6 years old. When asked about the benefits of the program, she emphasizes the group’s tight-knit bond, and how much it means to her and her family since moving out of San Francisco with its rising costs. Now living an hour away, she says the program has kept her connected to the city where her family lived for generations. \u003c/p>\n\u003cfigure id=\"attachment_13956565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt (center right), 15, practices with a Loco Bloco dance group lead by artistic director Mayela Carrasco at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jediah’s family has a long history with Loco Bloco. Her mother Ramona was introduced to the program by one of its founders, Jose Carrasco, when she was 11, and would watch rehearsals from the sidelines after school before joining in herself as a drummer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many years later, when Jediah was just 5, she saw the group perform — feathers, floats, colors and all — and begged her mom to join. In first grade, her wish came true, and she dutifully showed up to rehearsals, rain or shine. (Once, when a family member died, she remembers wanting to go to Loco Bloco rehearsal instead of their funeral.)\u003c/p>\n\u003cfigure id=\"attachment_13956564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, stands outside Brava Theater in San Francisco on April 22, 2024, before dance practice with the group Loco Bloco to prepare for Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s grown up with Loco Bloco, which I think is a beautiful thing,” says Ramona of her daughter. “I’ve asked over and over again, ‘Is this what you really want to do? Because you’re really good at it.’” \u003c/p>\n\u003cp>Three years ago, the closeness and familial bond of the program gave Jediah and her family a sense of stability after moving to Concord due to high costs and inflation. It was a difficult time, and her new home and school were vastly different from San Francisco. Yet Jediah and her three siblings still attended Loco Bloco every Monday and Wednesday. \u003c/p>\n\u003cfigure id=\"attachment_13956569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco managing director Jose Carrasco leads a drum group during practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jediah is really the best,” said Jose Carrasco, now Loco Bloco’s managing director. “She has really developed into a beautiful artist, and through the years I’ve watched her blossom.” Jediah helps out with the younger kids and their stilts lessons, Carrasco is quick to point out, while Ramona spends her time drumming and volunteering for the program. \u003c/p>\n\u003cp>Two years ago, Jediah’s family moved to Fairfield, an hour away from San Francisco without traffic, where her routine and environment changed once again. She began high school in Fairfield this year, which she described as rough. She didn’t know anybody at first, and went to a school with thousands of kids and “fights every day on the schoolyard.” \u003c/p>\n\u003cfigure id=\"attachment_13956567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, talks with friends during Loco Bloco dance practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, every Monday and Wednesday at 5 p.m., Ramona drives the family down I-80 and through the city’s traffic to Loco Bloco, where Jediah and her siblings dance and drum for hours. They don’t get back home until 11 p.m. While it may sound strenuous, when asked about it, Jediah says, “I feel like everybody is kind of like family. Everyone knows everyone, and we’re always there for each other, looking out for each other.” \u003c/p>\n\u003cp>For this year’s Carnaval, Jediah is one of just two teens dancing with the adults. Though the rehearsals and dances are difficult, the hardest part of preparing for Carnaval is the costumes, she says. Each year the dancers are given costumes to decorate with rhinestones or other accouterments and make their own. Jediah recalls staying up until one a.m. the night before last year’s Carnaval, trying to finish her outfit and falling asleep with the hot glue gun in hand.\u003c/p>\n\u003cfigure id=\"attachment_13956563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, helps stilt walkers for the group Loco Bloco practice outside Brava Theater in San Francisco on April 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jediah continues to navigate the challenges of adjusting to a new environment and the demands of high school life, her dedication to Loco Bloco remains a testament to the power of community and art. Through Loco Bloco, she not only hones her skills as an artist but also cultivates resilience, perseverance, and a sense of belonging.\u003c/p>\n\u003cp>At the upcoming Carnaval performance, there’ll be drums, dancing and colorful costumes — and for Jediah, there’ll also be the enduring impact of cultural expression and the bonds forged through shared experiences.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Loco Bloco performs as part of this year’s San Francisco’s Carnaval, running May 25–26 in the Mission District. \u003ca href=\"https://carnavalsanfrancisco.org/\">Details here\u003c/a>. \u003c/em> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Binnie Kenvin is a Junior at University High School. She is passionate about screenwriting, dancing and playing bass, and loves to hang out with her three dogs. In the future she hopes to be a screenwriter. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"As rehearsals heat up for this year's Carnaval, one 15-year-old dancer calls Loco Bloco 'like family.' ","status":"publish","parent":0,"modified":1714494942,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1122},"headData":{"title":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission | KQED","description":"As rehearsals heat up for this year's Carnaval, one 15-year-old dancer calls Loco Bloco 'like family.' ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission","datePublished":"2024-04-24T21:24:23.000Z","dateModified":"2024-04-30T16:35:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"the-drumbeat-of-home-how-loco-bloco-keeps-one-family-tethered-to-the-mission","nprByline":"Binnie Kenvin","nprStoryId":"kqed-13956554","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956554/loco-bloco-mission-district-carnaval-jediah-pratt","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The booming sounds can be heard in the Mission District all the way down the block. From inside a brightly painted building on 24th Street, upstairs at the Brava Theater Center, 20 drummers pound out a rhythm for nearly three dozen dancers, shaking the floor as they move. \u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg\" alt=\"\" width=\"160\" height=\"190\" class=\"alignright size-thumbnail wp-image-13956328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is a typical weeknight rehearsal for \u003ca href=\"https://www.locoblocosf.org/\">Loco Bloco\u003c/a>, whose performers are currently working for hours on end to master intricate choreography and complex drum patterns for their performance at San Francisco’s massive \u003ca href=\"https://carnavalsanfrancisco.org/\">Carnaval celebration\u003c/a> in May. \u003c/p>\n\u003cp>A donations-based organization offering free dance and music classes to young people, Loco Bloco primarily serves the Latin and Afro-Latino communities in the Bay Area. Since its founding in 1994, Loco Bloco has influenced countless young participants, giving them a sense of community, stability and core values.\u003c/p>\n\u003cfigure id=\"attachment_13956568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antonio ‘Tico’ Dos Santos leads a Loco Bloco drum lesson at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prime example of this is 15-year-old dancer Jediah Pratt, who began dancing with Loco Bloco when she was just 6 years old. When asked about the benefits of the program, she emphasizes the group’s tight-knit bond, and how much it means to her and her family since moving out of San Francisco with its rising costs. Now living an hour away, she says the program has kept her connected to the city where her family lived for generations. \u003c/p>\n\u003cfigure id=\"attachment_13956565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt (center right), 15, practices with a Loco Bloco dance group lead by artistic director Mayela Carrasco at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jediah’s family has a long history with Loco Bloco. Her mother Ramona was introduced to the program by one of its founders, Jose Carrasco, when she was 11, and would watch rehearsals from the sidelines after school before joining in herself as a drummer.\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>Many years later, when Jediah was just 5, she saw the group perform — feathers, floats, colors and all — and begged her mom to join. In first grade, her wish came true, and she dutifully showed up to rehearsals, rain or shine. (Once, when a family member died, she remembers wanting to go to Loco Bloco rehearsal instead of their funeral.)\u003c/p>\n\u003cfigure id=\"attachment_13956564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, stands outside Brava Theater in San Francisco on April 22, 2024, before dance practice with the group Loco Bloco to prepare for Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s grown up with Loco Bloco, which I think is a beautiful thing,” says Ramona of her daughter. “I’ve asked over and over again, ‘Is this what you really want to do? Because you’re really good at it.’” \u003c/p>\n\u003cp>Three years ago, the closeness and familial bond of the program gave Jediah and her family a sense of stability after moving to Concord due to high costs and inflation. It was a difficult time, and her new home and school were vastly different from San Francisco. Yet Jediah and her three siblings still attended Loco Bloco every Monday and Wednesday. \u003c/p>\n\u003cfigure id=\"attachment_13956569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco managing director Jose Carrasco leads a drum group during practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jediah is really the best,” said Jose Carrasco, now Loco Bloco’s managing director. “She has really developed into a beautiful artist, and through the years I’ve watched her blossom.” Jediah helps out with the younger kids and their stilts lessons, Carrasco is quick to point out, while Ramona spends her time drumming and volunteering for the program. \u003c/p>\n\u003cp>Two years ago, Jediah’s family moved to Fairfield, an hour away from San Francisco without traffic, where her routine and environment changed once again. She began high school in Fairfield this year, which she described as rough. She didn’t know anybody at first, and went to a school with thousands of kids and “fights every day on the schoolyard.” \u003c/p>\n\u003cfigure id=\"attachment_13956567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, talks with friends during Loco Bloco dance practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, every Monday and Wednesday at 5 p.m., Ramona drives the family down I-80 and through the city’s traffic to Loco Bloco, where Jediah and her siblings dance and drum for hours. They don’t get back home until 11 p.m. While it may sound strenuous, when asked about it, Jediah says, “I feel like everybody is kind of like family. Everyone knows everyone, and we’re always there for each other, looking out for each other.” \u003c/p>\n\u003cp>For this year’s Carnaval, Jediah is one of just two teens dancing with the adults. Though the rehearsals and dances are difficult, the hardest part of preparing for Carnaval is the costumes, she says. Each year the dancers are given costumes to decorate with rhinestones or other accouterments and make their own. Jediah recalls staying up until one a.m. the night before last year’s Carnaval, trying to finish her outfit and falling asleep with the hot glue gun in hand.\u003c/p>\n\u003cfigure id=\"attachment_13956563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, helps stilt walkers for the group Loco Bloco practice outside Brava Theater in San Francisco on April 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jediah continues to navigate the challenges of adjusting to a new environment and the demands of high school life, her dedication to Loco Bloco remains a testament to the power of community and art. Through Loco Bloco, she not only hones her skills as an artist but also cultivates resilience, perseverance, and a sense of belonging.\u003c/p>\n\u003cp>At the upcoming Carnaval performance, there’ll be drums, dancing and colorful costumes — and for Jediah, there’ll also be the enduring impact of cultural expression and the bonds forged through shared experiences.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Loco Bloco performs as part of this year’s San Francisco’s Carnaval, running May 25–26 in the Mission District. \u003ca href=\"https://carnavalsanfrancisco.org/\">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":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Binnie Kenvin is a Junior at University High School. She is passionate about screenwriting, dancing and playing bass, and loves to hang out with her three dogs. In the future she hopes to be a screenwriter. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956554/loco-bloco-mission-district-carnaval-jediah-pratt","authors":["byline_arts_13956554"],"categories":["arts_1","arts_835","arts_966","arts_76","arts_11615","arts_69","arts_235"],"tags":["arts_10342","arts_10278","arts_1257","arts_1146","arts_4533"],"featImg":"arts_13956570","label":"arts"},"arts_13956575":{"type":"posts","id":"arts_13956575","meta":{"index":"posts_1591205157","site":"arts","id":"13956575","score":null,"sort":[1713983603000]},"guestAuthors":[],"slug":"sfmoma-workers-open-letter-palestinians-gaza-pacbi","title":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","publishDate":1713983603,"format":"standard","headTitle":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. [aside postid='arts_13955613,arts_13954119']\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n","blocks":[],"excerpt":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","status":"publish","parent":0,"modified":1714494975,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":642},"headData":{"title":"SFMOMA Workers Urge Museum to Support Palestinians in Letter | KQED","description":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"SFMOMA Workers Urge Museum to Support Palestinians in Letter %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","datePublished":"2024-04-24T18:33:23.000Z","dateModified":"2024-04-30T16:36:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956575","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\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>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955613,arts_13954119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","authors":["11387"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_10342","arts_10278","arts_10422","arts_8838","arts_1381"],"featImg":"arts_13956649","label":"arts"},"arts_13956373":{"type":"posts","id":"arts_13956373","meta":{"index":"posts_1591205157","site":"arts","id":"13956373","score":null,"sort":[1713892535000]},"guestAuthors":[],"slug":"outside-lands-lineup-2024-san-francisco","title":"Outside Lands 2024: Tyler, the Creator, The Killers and Sturgill Simpson Headline","publishDate":1713892535,"format":"standard","headTitle":"Outside Lands 2024: Tyler, the Creator, The Killers and Sturgill Simpson Headline | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> has announced the 2024 lineup for its annual music festival.\u003c/p>\n\u003cp>Topping the bill this year is Tyler, the Creator, the experimental rapper, singer and producer whose powerful stage presence overshadowed the actual headliners when he \u003ca href=\"https://www.kqed.org/arts/13905536/photos-an-electric-return-for-outside-lands-with-tyler-the-creator-and-more\">performed on a smaller Outside Lands stage\u003c/a> in 2021. Aughts rock mainstays The Killers and country singer-songwriter Sturgill Simpson join Tyler as co-headliners.\u003c/p>\n\u003cp>The festival, which draws hundreds of thousands of fans to San Francisco’s Golden Gate Park each August, notably has a larger country music presence than in years past. Hot off his feature on Beyoncé’s \u003cem>Cowboy Carter\u003c/em>, Post Malone will perform an all-country set. Other lineup highlights include art pop icon and fashion muse Grace Jones; disco revivalists Jungle; “Water” hitmaker Tyla; Sacramento-raised Grammy winner Victoria Monét; the Postal Service, patron saints of millennial sad boys and girls everywhere; house music producer Kaytranada; actor and electronic music producer Idris Elba and many more.\u003c/p>\n\u003cp>In addition to its musical, culinary and cannabis offerings, Outside Lands will bring back Dolores’, its queer-oriented, open-air dance club that debuted to great acclaim last year. Its SOMA stage, for electronic music, will also change from its previous tent setting to an open-air format.\u003c/p>\n\u003cp>Outside Lands takes place Aug. 9-11, and \u003ca href=\"https://outsidelands.frontgatetickets.com/\">three-day tickets\u003c/a> go on sale April 24 at 10 am.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>Tyler, The Creator\u003cbr>\nThe Killers\u003cbr>\nSturgill Simpson\u003cbr>\nPost Malone (Performing a Special Country Set)\u003cbr>\nThe Postal Service\u003cbr>\nGrace Jones\u003cbr>\nKAYTRANADA\u003cbr>\nJUNGLE\u003cbr>\nChris Lake\u003cbr>\nGryffin\u003cbr>\nSnoh Aalegra\u003cbr>\nYoung The Giant\u003cbr>\nScHoolboy Q\u003cbr>\nTeddy Swims\u003cbr>\nReneé Rapp\u003cbr>\nVictoria Monét\u003cbr>\nKnock2\u003cbr>\nSlowdive\u003cbr>\nKiller Mike\u003cbr>\nFLETCHER\u003cbr>\nTV Girl\u003cbr>\nTyla\u003cbr>\nChappell Roan\u003cbr>\nChannel Tres\u003cbr>\nCharley Crockett\u003cbr>\nMen I Trust\u003cbr>\nBen Howard\u003cbr>\nAmyl and The Sniffers\u003cbr>\nKevin Abstract\u003cbr>\nPaul Cauthen\u003cbr>\nThe Japanese House\u003cbr>\nRomy\u003cbr>\nThe Last Dinner Party\u003cbr>\nBADBADNOTGOOD\u003cbr>\nSTRFKR\u003cbr>\nReal Estate\u003cbr>\nK.Flay\u003cbr>\nCorinne Bailey Rae\u003cbr>\nSnakehips\u003cbr>\nAmen Dunes\u003cbr>\nRoosevelt\u003cbr>\nAllen Stone\u003cbr>\nMindchatter\u003cbr>\nDaði Freyr\u003cbr>\nRyan Beatty\u003cbr>\nLEISURE\u003cbr>\nElyanna\u003cbr>\nConfidence Man\u003cbr>\nKasablanca\u003cbr>\nVandelux\u003cbr>\nWisp\u003cbr>\nMedium Build\u003cbr>\nRocco\u003cbr>\nunderscores\u003cbr>\nDevault\u003cbr>\nChance Peña\u003cbr>\nMimi Webb\u003cbr>\nDaily Bread\u003cbr>\nBALTHVS\u003cbr>\nShaboozey\u003cbr>\nbilly woods\u003cbr>\nThe Lemon Twigs\u003cbr>\nTrueno\u003cbr>\nSons Of The East\u003cbr>\nCMAT\u003cbr>\nCimafunk\u003cbr>\nKatie Pruitt\u003cbr>\nAG Club\u003cbr>\nLady Wray\u003cbr>\nOdie Leigh\u003cbr>\nFrench Cassettes\u003cbr>\nOgi\u003cbr>\nMiLES.\u003cbr>\nValencia Grace\u003cbr>\nDan Spencer\u003cbr>\nLael Neale\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SOMA\u003c/strong>\u003cbr>\nAngrybaby\u003cbr>\nAnish Kumar\u003cbr>\nAYYBO\u003cbr>\nThe Blessed Madonna\u003cbr>\nBUNS\u003cbr>\nChuck Gunn\u003cbr>\nDARIUS\u003cbr>\nDusky\u003cbr>\nHoneyluv b2b Jaden Thompson\u003cbr>\nIdris Elba\u003cbr>\nJackie Hollander\u003cbr>\nJoe Kay b2b Jared Jackson\u003cbr>\nKaleena Zanders\u003cbr>\nMarsh\u003cbr>\nSeth Troxler\u003cbr>\nShiba San b2b CID\u003cbr>\nSIDEPIECE\u003cbr>\nSofia Kourtesis\u003cbr>\nTSHA\u003cbr>\nUncle Waffles\u003cbr>\nYulia Niko\u003c/p>\n\n","blocks":[],"excerpt":"Three-day tickets to the festival in Golden Gate Park go on sale April 24 at 10 a.m.","status":"publish","parent":0,"modified":1713892535,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":429},"headData":{"title":"Outside Lands 2024: Tyler, the Creator, The Killers and Sturgill Simpson Headline | KQED","description":"Three-day tickets to the festival in Golden Gate Park go on sale April 24 at 10 a.m.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Outside Lands 2024: Tyler, the Creator, The Killers and Sturgill Simpson Headline","datePublished":"2024-04-23T17:15:35.000Z","dateModified":"2024-04-23T17:15:35.000Z","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/13956373/outside-lands-lineup-2024-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> has announced the 2024 lineup for its annual music festival.\u003c/p>\n\u003cp>Topping the bill this year is Tyler, the Creator, the experimental rapper, singer and producer whose powerful stage presence overshadowed the actual headliners when he \u003ca href=\"https://www.kqed.org/arts/13905536/photos-an-electric-return-for-outside-lands-with-tyler-the-creator-and-more\">performed on a smaller Outside Lands stage\u003c/a> in 2021. Aughts rock mainstays The Killers and country singer-songwriter Sturgill Simpson join Tyler as co-headliners.\u003c/p>\n\u003cp>The festival, which draws hundreds of thousands of fans to San Francisco’s Golden Gate Park each August, notably has a larger country music presence than in years past. Hot off his feature on Beyoncé’s \u003cem>Cowboy Carter\u003c/em>, Post Malone will perform an all-country set. Other lineup highlights include art pop icon and fashion muse Grace Jones; disco revivalists Jungle; “Water” hitmaker Tyla; Sacramento-raised Grammy winner Victoria Monét; the Postal Service, patron saints of millennial sad boys and girls everywhere; house music producer Kaytranada; actor and electronic music producer Idris Elba and many more.\u003c/p>\n\u003cp>In addition to its musical, culinary and cannabis offerings, Outside Lands will bring back Dolores’, its queer-oriented, open-air dance club that debuted to great acclaim last year. Its SOMA stage, for electronic music, will also change from its previous tent setting to an open-air format.\u003c/p>\n\u003cp>Outside Lands takes place Aug. 9-11, and \u003ca href=\"https://outsidelands.frontgatetickets.com/\">three-day tickets\u003c/a> go on sale April 24 at 10 am.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>Tyler, The Creator\u003cbr>\nThe Killers\u003cbr>\nSturgill Simpson\u003cbr>\nPost Malone (Performing a Special Country Set)\u003cbr>\nThe Postal Service\u003cbr>\nGrace Jones\u003cbr>\nKAYTRANADA\u003cbr>\nJUNGLE\u003cbr>\nChris Lake\u003cbr>\nGryffin\u003cbr>\nSnoh Aalegra\u003cbr>\nYoung The Giant\u003cbr>\nScHoolboy Q\u003cbr>\nTeddy Swims\u003cbr>\nReneé Rapp\u003cbr>\nVictoria Monét\u003cbr>\nKnock2\u003cbr>\nSlowdive\u003cbr>\nKiller Mike\u003cbr>\nFLETCHER\u003cbr>\nTV Girl\u003cbr>\nTyla\u003cbr>\nChappell Roan\u003cbr>\nChannel Tres\u003cbr>\nCharley Crockett\u003cbr>\nMen I Trust\u003cbr>\nBen Howard\u003cbr>\nAmyl and The Sniffers\u003cbr>\nKevin Abstract\u003cbr>\nPaul Cauthen\u003cbr>\nThe Japanese House\u003cbr>\nRomy\u003cbr>\nThe Last Dinner Party\u003cbr>\nBADBADNOTGOOD\u003cbr>\nSTRFKR\u003cbr>\nReal Estate\u003cbr>\nK.Flay\u003cbr>\nCorinne Bailey Rae\u003cbr>\nSnakehips\u003cbr>\nAmen Dunes\u003cbr>\nRoosevelt\u003cbr>\nAllen Stone\u003cbr>\nMindchatter\u003cbr>\nDaði Freyr\u003cbr>\nRyan Beatty\u003cbr>\nLEISURE\u003cbr>\nElyanna\u003cbr>\nConfidence Man\u003cbr>\nKasablanca\u003cbr>\nVandelux\u003cbr>\nWisp\u003cbr>\nMedium Build\u003cbr>\nRocco\u003cbr>\nunderscores\u003cbr>\nDevault\u003cbr>\nChance Peña\u003cbr>\nMimi Webb\u003cbr>\nDaily Bread\u003cbr>\nBALTHVS\u003cbr>\nShaboozey\u003cbr>\nbilly woods\u003cbr>\nThe Lemon Twigs\u003cbr>\nTrueno\u003cbr>\nSons Of The East\u003cbr>\nCMAT\u003cbr>\nCimafunk\u003cbr>\nKatie Pruitt\u003cbr>\nAG Club\u003cbr>\nLady Wray\u003cbr>\nOdie Leigh\u003cbr>\nFrench Cassettes\u003cbr>\nOgi\u003cbr>\nMiLES.\u003cbr>\nValencia Grace\u003cbr>\nDan Spencer\u003cbr>\nLael Neale\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>\u003cstrong>SOMA\u003c/strong>\u003cbr>\nAngrybaby\u003cbr>\nAnish Kumar\u003cbr>\nAYYBO\u003cbr>\nThe Blessed Madonna\u003cbr>\nBUNS\u003cbr>\nChuck Gunn\u003cbr>\nDARIUS\u003cbr>\nDusky\u003cbr>\nHoneyluv b2b Jaden Thompson\u003cbr>\nIdris Elba\u003cbr>\nJackie Hollander\u003cbr>\nJoe Kay b2b Jared Jackson\u003cbr>\nKaleena Zanders\u003cbr>\nMarsh\u003cbr>\nSeth Troxler\u003cbr>\nShiba San b2b CID\u003cbr>\nSIDEPIECE\u003cbr>\nSofia Kourtesis\u003cbr>\nTSHA\u003cbr>\nUncle Waffles\u003cbr>\nYulia Niko\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956373/outside-lands-lineup-2024-san-francisco","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_10278","arts_22068","arts_1739","arts_1146","arts_585"],"featImg":"arts_13905531","label":"arts_140"},"arts_13956246":{"type":"posts","id":"arts_13956246","meta":{"index":"posts_1591205157","site":"arts","id":"13956246","score":null,"sort":[1713551661000]},"guestAuthors":[],"slug":"the-stud-san-francisco-lgbtq-bar-reopening","title":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening","publishDate":1713551661,"format":"audio","headTitle":"The Stud, SF’s Oldest Queer Bar, Gears Up for a Grand Reopening | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When \u003ca href=\"https://www.studsf.com/\">the Stud\u003c/a> closed its doors at the onset of the pandemic in 2020, its worker-owner collective vowed to one day return. After all, the legendary LGBTQ+ bar had been around in various incarnations since 1966, nurturing the weird, alternative and experimental pockets of queer performance in San Francisco ever since.\u003c/p>\n\u003cp>The Stud’s official reopening at its new South of Market location (1123-1125 Folsom Street) finally arrives this Saturday, April 20, with a \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">Stud Time Machine\u003c/a> party celebrating its different eras. After a blessing from the Sisters of Perpetual Indulgence, festivities kick off at 6 p.m. with a 1960s cowboy-themed DJ set and performance. Each hour of the party will be dedicated to a different decade (“The Disco Era,” “The Club Kid Era”), culminating with a look into the future at midnight. Among the entertainers are original disco DJ Steve Fabus, who’s been spinning since the ’70s; drag diva (and fashion designer to the drag stars) Glamamore, performing an homage to the late \u003ca href=\"https://www.kqed.org/arts/13929572/heklina-castro-memorial\">Heklina\u003c/a>’s beloved party T-Shack; and multi-hyphenate artist Honey Mahogany, a Stud co-owner deeply involved in San Francisco politics.\u003c/p>\n\u003cp>As the Stud gears up for its grand reopening, Mahogany spoke with KQED’s Adhiti Bandlamudi about what lies ahead in this new iteration of San Francisco’s oldest queer bar.\u003c/p>\n\u003cfigure id=\"attachment_13915269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany speaks during a rally after the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adhiti Bandlamudi:\u003c/strong> The Stud has such a rich history, and the theme of tomorrow’s opening night party reflects that. Can you tell us more about that?\u003c/p>\n\u003cp>\u003cstrong>Honey Mahogany:\u003c/strong> The Stud first opened in 1966. It’s been the living room for so many people, not just in the neighborhood, but across the country. During the ’60s, it really started off as a leather bar, and then really became more of a Western bar. But it quickly evolved into a place where everyone felt welcome — whether it be women, queers, hair fairies or trans people. So many different groups and communities feel welcome at the Stud.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My favorite story of the Stud is that during the ’60s … Huey Newton, who was one of the leaders of the Black Panther Party, made this incredible speech where he talked about building unity between the women’s movement and the LGBTQ movement. One of the first places that the LGBTQ Liberation Front and the Black Panther Party actually met was at the Stud.\u003c/p>\n\u003cp>\u003cstrong>The Stud has faced several closures in the past. And every time that idea became more of a reality, it sounds like community members who really care about the bar came together to keep it alive. In 2016, when the previous owner was going to retire, you and other artists, DJs and performers got together and started the Stud Collective. As I understand it, it’s one of the first co-op nightclubs in the country. How has this collective model made a difference as you get ready to open the state again?\u003c/strong>\u003c/p>\n\u003cp>It was sort of, I don’t want to say an act of desperation, but so many LGBTQ nightlife venues were closing all across the country, and especially here in San Francisco. LGBTQ venues were being priced out. Certainly, that was the case with the Stud, where the previous owner was just like, “I can’t afford to pay triple what I was paying in rent. So I can’t do this anymore.” And he really made a callout to the community, hoping that someone would come and save the Stud.\u003c/p>\n\u003cp>The Stud has always been kind of a dive bar \u003cspan style=\"font-weight: 400\">— \u003c/span>more of a community space than a big moneymaker. So a bunch of us who could not have afforded to buy the bar on our own \u003cspan style=\"font-weight: 400\">— \u003c/span>a group of 17 \u003cspan style=\"font-weight: 400\">—\u003c/span> worked to build the collective, set up a system of rules, come up with a plan for how we were going to save the Stud, and we were successful.\u003c/p>\n\u003cp>I won’t say that it was easy. It was lots of long nights, lots of arguments, lots of personalities and ideas. But ultimately, I do think that having collective ownership of a space like the Stud is really important because it ensures that the space remains open.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m curious to understand more about that journey, especially because of COVID and the aftereffects of it. What has that journey been like?\u003c/strong>\u003c/p>\n\u003cp>COVID was a real bummer.\u003c/p>\n\u003cp>\u003cstrong>To say the least. \u003c/strong>[aside postid='arts_13936556']\u003c/p>\n\u003cp>We actually shut down relatively early, because we didn’t know what was going to happen or how soon we were going to open up. We also knew that we couldn’t afford to keep going. Actually, we did not go completely dark. We very quickly hopped online, hosting drag shows and DJ parties on the weekends, so people could safely enjoy performance art and drag and music from their own homes.\u003c/p>\n\u003cp>\u003cstrong>There’s also been some fundraising that’s been going on. \u003ca href=\"https://givebutter.com/c/Stud2024\">The crowdfunding goal\u003c/a> is $500,000, and last I checked, like $74,000 had been donated. And people are still donating.\u003c/strong>\u003c/p>\n\u003cp>The crowdfunding is just one part of where we’ve been raising money. We’ve been raising money through other spaces as well — selling some assets and things like that. And so right now we’re just above $425,000 that we’ve been able to pull together. So that leaves about $75,000 left that we have to raise. And we are really excited, because it’s enabled us to get this far.\u003c/p>\n\u003cfigure id=\"attachment_13880907\" class=\"wp-caption aligncenter\" style=\"max-width: 655px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg\" alt=\"A black-and-white photo of a drag queen nun and two mustached men partying.\" width=\"655\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-160x106.jpg 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991. \u003ccite>(Melissa Hawkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that $75,000 is going to be really key into seeing the longevity of the Stud, and also to really make the Stud what it used to be, which was not just a dance bar or a dance space, but also a place where there were epic, life-changing performances.\u003c/p>\n\u003cp>The space that we’ve taken over now is so cool, but it is not a performance space. We’ve got two separate bar areas and dance floors. But we do not have a stage. We do not have a dressing room. We do not have an area for the performers to be able to use the restroom and get changed and all of that stuff. So we want to take out the industrial kitchen that takes up a quarter of the bar currently, convert that into dressing rooms and bathrooms for the performers, and then also build out a stage so that we can bring back those epic Stud drag shows.\u003c/p>\n\u003cp>One of the ways in which we are incentivizing people to help us get to that $500,000 goal is we have the Stud’s opening night party this Saturday. We released tickets on Monday and, within six minutes, all sold out. There will be some tickets at the door. But folks are definitely planning on getting there early. [aside postid='arts_13953497']\u003c/p>\n\u003cp>\u003cstrong>The new Stud won’t just be a nightclub, right? There are plans to include a school that will teach the art of drag. Can you tell me more about that?\u003c/strong>\u003c/p>\n\u003cp>We are planning on opening the drag school. It’s going to be a collaboration between the Stud and CounterPulse. It’s going to be a bit of an interesting model because a lot of the classes will probably be off-site. But we are definitely going to train people in the art of drag, help them get their starts, provide them with mentors, bring specialists in — costuming, makeup, hair and performance and dance — and really give them the tools that they need to be successful.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Stud is located at 1123-1125 Folsom Street. \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">The Stud Time Machine\u003c/a> reopening party begins at 5:30 p.m. on April 20. \u003ca href=\"https://www.instagram.com/studsf\">Follow the Stud on Instagram\u003c/a> for updates on business hours and future events.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The historic bar's new SoMa location debuts with a time machine-themed party celebrating its different eras.","status":"publish","parent":0,"modified":1714495007,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1384},"headData":{"title":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening | KQED","description":"The historic bar's new SoMa location debuts with a time machine-themed party celebrating its different eras.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening","datePublished":"2024-04-19T18:34:21.000Z","dateModified":"2024-04-30T16:36:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/7fc79c25-862e-45d6-a298-b157011425d9/audio.mp3","sticky":false,"nprStoryId":"kqed-13956246","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.studsf.com/\">the Stud\u003c/a> closed its doors at the onset of the pandemic in 2020, its worker-owner collective vowed to one day return. After all, the legendary LGBTQ+ bar had been around in various incarnations since 1966, nurturing the weird, alternative and experimental pockets of queer performance in San Francisco ever since.\u003c/p>\n\u003cp>The Stud’s official reopening at its new South of Market location (1123-1125 Folsom Street) finally arrives this Saturday, April 20, with a \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">Stud Time Machine\u003c/a> party celebrating its different eras. After a blessing from the Sisters of Perpetual Indulgence, festivities kick off at 6 p.m. with a 1960s cowboy-themed DJ set and performance. Each hour of the party will be dedicated to a different decade (“The Disco Era,” “The Club Kid Era”), culminating with a look into the future at midnight. Among the entertainers are original disco DJ Steve Fabus, who’s been spinning since the ’70s; drag diva (and fashion designer to the drag stars) Glamamore, performing an homage to the late \u003ca href=\"https://www.kqed.org/arts/13929572/heklina-castro-memorial\">Heklina\u003c/a>’s beloved party T-Shack; and multi-hyphenate artist Honey Mahogany, a Stud co-owner deeply involved in San Francisco politics.\u003c/p>\n\u003cp>As the Stud gears up for its grand reopening, Mahogany spoke with KQED’s Adhiti Bandlamudi about what lies ahead in this new iteration of San Francisco’s oldest queer bar.\u003c/p>\n\u003cfigure id=\"attachment_13915269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany speaks during a rally after the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adhiti Bandlamudi:\u003c/strong> The Stud has such a rich history, and the theme of tomorrow’s opening night party reflects that. Can you tell us more about that?\u003c/p>\n\u003cp>\u003cstrong>Honey Mahogany:\u003c/strong> The Stud first opened in 1966. It’s been the living room for so many people, not just in the neighborhood, but across the country. During the ’60s, it really started off as a leather bar, and then really became more of a Western bar. But it quickly evolved into a place where everyone felt welcome — whether it be women, queers, hair fairies or trans people. So many different groups and communities feel welcome at the Stud.\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>My favorite story of the Stud is that during the ’60s … Huey Newton, who was one of the leaders of the Black Panther Party, made this incredible speech where he talked about building unity between the women’s movement and the LGBTQ movement. One of the first places that the LGBTQ Liberation Front and the Black Panther Party actually met was at the Stud.\u003c/p>\n\u003cp>\u003cstrong>The Stud has faced several closures in the past. And every time that idea became more of a reality, it sounds like community members who really care about the bar came together to keep it alive. In 2016, when the previous owner was going to retire, you and other artists, DJs and performers got together and started the Stud Collective. As I understand it, it’s one of the first co-op nightclubs in the country. How has this collective model made a difference as you get ready to open the state again?\u003c/strong>\u003c/p>\n\u003cp>It was sort of, I don’t want to say an act of desperation, but so many LGBTQ nightlife venues were closing all across the country, and especially here in San Francisco. LGBTQ venues were being priced out. Certainly, that was the case with the Stud, where the previous owner was just like, “I can’t afford to pay triple what I was paying in rent. So I can’t do this anymore.” And he really made a callout to the community, hoping that someone would come and save the Stud.\u003c/p>\n\u003cp>The Stud has always been kind of a dive bar \u003cspan style=\"font-weight: 400\">— \u003c/span>more of a community space than a big moneymaker. So a bunch of us who could not have afforded to buy the bar on our own \u003cspan style=\"font-weight: 400\">— \u003c/span>a group of 17 \u003cspan style=\"font-weight: 400\">—\u003c/span> worked to build the collective, set up a system of rules, come up with a plan for how we were going to save the Stud, and we were successful.\u003c/p>\n\u003cp>I won’t say that it was easy. It was lots of long nights, lots of arguments, lots of personalities and ideas. But ultimately, I do think that having collective ownership of a space like the Stud is really important because it ensures that the space remains open.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m curious to understand more about that journey, especially because of COVID and the aftereffects of it. What has that journey been like?\u003c/strong>\u003c/p>\n\u003cp>COVID was a real bummer.\u003c/p>\n\u003cp>\u003cstrong>To say the least. \u003c/strong>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936556","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We actually shut down relatively early, because we didn’t know what was going to happen or how soon we were going to open up. We also knew that we couldn’t afford to keep going. Actually, we did not go completely dark. We very quickly hopped online, hosting drag shows and DJ parties on the weekends, so people could safely enjoy performance art and drag and music from their own homes.\u003c/p>\n\u003cp>\u003cstrong>There’s also been some fundraising that’s been going on. \u003ca href=\"https://givebutter.com/c/Stud2024\">The crowdfunding goal\u003c/a> is $500,000, and last I checked, like $74,000 had been donated. And people are still donating.\u003c/strong>\u003c/p>\n\u003cp>The crowdfunding is just one part of where we’ve been raising money. We’ve been raising money through other spaces as well — selling some assets and things like that. And so right now we’re just above $425,000 that we’ve been able to pull together. So that leaves about $75,000 left that we have to raise. And we are really excited, because it’s enabled us to get this far.\u003c/p>\n\u003cfigure id=\"attachment_13880907\" class=\"wp-caption aligncenter\" style=\"max-width: 655px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg\" alt=\"A black-and-white photo of a drag queen nun and two mustached men partying.\" width=\"655\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-160x106.jpg 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991. \u003ccite>(Melissa Hawkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that $75,000 is going to be really key into seeing the longevity of the Stud, and also to really make the Stud what it used to be, which was not just a dance bar or a dance space, but also a place where there were epic, life-changing performances.\u003c/p>\n\u003cp>The space that we’ve taken over now is so cool, but it is not a performance space. We’ve got two separate bar areas and dance floors. But we do not have a stage. We do not have a dressing room. We do not have an area for the performers to be able to use the restroom and get changed and all of that stuff. So we want to take out the industrial kitchen that takes up a quarter of the bar currently, convert that into dressing rooms and bathrooms for the performers, and then also build out a stage so that we can bring back those epic Stud drag shows.\u003c/p>\n\u003cp>One of the ways in which we are incentivizing people to help us get to that $500,000 goal is we have the Stud’s opening night party this Saturday. We released tickets on Monday and, within six minutes, all sold out. There will be some tickets at the door. But folks are definitely planning on getting there early. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953497","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The new Stud won’t just be a nightclub, right? There are plans to include a school that will teach the art of drag. Can you tell me more about that?\u003c/strong>\u003c/p>\n\u003cp>We are planning on opening the drag school. It’s going to be a collaboration between the Stud and CounterPulse. It’s going to be a bit of an interesting model because a lot of the classes will probably be off-site. But we are definitely going to train people in the art of drag, help them get their starts, provide them with mentors, bring specialists in — costuming, makeup, hair and performance and dance — and really give them the tools that they need to be successful.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stud is located at 1123-1125 Folsom Street. \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">The Stud Time Machine\u003c/a> reopening party begins at 5:30 p.m. on April 20. \u003ca href=\"https://www.instagram.com/studsf\">Follow the Stud on Instagram\u003c/a> for updates on business hours and future events.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening","authors":["11387","11672"],"categories":["arts_1","arts_235"],"tags":["arts_10342","arts_10278","arts_3226","arts_5351","arts_1146"],"featImg":"arts_13934323","label":"arts"},"arts_13956178":{"type":"posts","id":"arts_13956178","meta":{"index":"posts_1591205157","site":"arts","id":"13956178","score":null,"sort":[1713465326000]},"guestAuthors":[],"slug":"minnie-bells-soul-food-restaurant-fillmore-sf-opening","title":"Minnie Bell’s New Soul Food Restaurant in the Fillmore Is a Homecoming","publishDate":1713465326,"format":"audio","headTitle":"Minnie Bell’s New Soul Food Restaurant in the Fillmore Is a Homecoming | KQED","labelTerm":{},"content":"\u003cp>Chef Fernay McPherson has been serving her take on Southern comfort foods, like crispy rosemary fried chicken and apparently the Bay Area’s \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/an-ode-to-minnie-bell-s-gooey-mac-and-cheese-16012173.php\">best mac and cheese\u003c/a>, at her stall at The Public Market Food Hall in Emeryville since 2018. But she has long \u003ca href=\"https://www.kqed.org/news/11800814/a-black-chefs-dream-of-returning-to-the-fillmore\">dreamed\u003c/a> of running a restaurant in her hometown.\u003c/p>\n\u003cp>“My quest was to find a space in San Francisco and preferably in the Fillmore,” McPherson says.\u003c/p>\n\u003cp>She grew up in that neighborhood, once known as the “Harlem of the West,” which used to be full of Black-owned businesses. But \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">urban renewal\u003c/a> efforts from the 1950s through the 1970s forced tens of thousands of families to leave, and most businesses shut down.\u003c/p>\n\u003cp>\u003cem>WATCH KQED’s 1999 documentary on the history of Fillmore:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a8h2meDtdm8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A few have remained, and in recent years, a citywide effort — the Dream Keeper Initiative — is trying to revitalize the area and help bring back Black-owned businesses, like \u003ca href=\"https://www.kqed.org/news/11954111/longtime-fillmore-resident-hopes-to-restore-commerce-with-black-led-marketplace\">In The Black\u003c/a>, a shared retail space.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13900855,arts_13916044,arts_13874853']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>The program helped make it possible for McPherson to realize her dream. On Friday, she’ll welcome the public to dine at Minnie Bell’s Soul Movement — a stand-alone brick-and-mortar version of the East Bay stall, featuring a similar menu.\u003c/p>\n\u003cp>“I want to be able to educate people who may not know what was here before,” says McPherson, wearing a blue-gray apron and a graphic T-shirt emblazoned with a photo of Whitney Houston, from inside the 40-seat establishment in the heart of the Fillmore District. “Share those stories that my dad, my aunt share with me about how rich this was and be able to represent the culture and look forward to seeing more of it.”\u003c/p>\n\u003cp>For her, food is personal, and the restaurant pays homage to her family history. One wall is decorated with a large mural of a photo of Fillmore Street in its heyday in the 1960s. Another wall has two large-scale photographs of her biggest inspirations — her grandma Lillie Bell and her great-aunt Minnie.\u003c/p>\n\u003cfigure id=\"attachment_13956186\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956186\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED.jpg\" alt=\"A fresh batch of fried chicken is pulled out of the deep fryer.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pulling a fresh batch of rosemary fried chicken out of the fryer. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I picked these photos because I wanted a photo of them in their youth, like my aunt has on her cap and gown. She was graduating high school. My grandmother was about 21 and it was a professional portrait,” she says. “I just think they look so beautiful, and when I look up at these pictures, it just gives me all the strength that I need to get through my day.”\u003c/p>\n\u003cp>McPherson talked more about how important the past has been toward shaping her present with KQED’s Adhiti Bandlamudi.\u003c/p>\n\u003cp>\u003ci>This conversation has been edited for clarity and brevity.\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>\u003cb>Adhiti Bandlamudi: Tell me more about your grandma and great aunt. How did their story manifest when it came to creating a menu and thinking about what experience you wanted to give at Minnie Bell’s Soul Movement?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Fernay McPherson:\u003c/b> While I may add a little twist to it, everything that I cook is food that I grew up eating. Before my family left Texas in the 1960s, my grandma made the chicken and pound cake for their journey into San Francisco. So we have that pound cake that she made — but [with] the addition of the caramel. I make it the same way that she taught me to make it. It was one of the cakes that everyone in the family wanted for their birthday.\u003c/p>\n\u003cp>We have fried chicken, which is the highlight of what we do, [and] the addition of the rosemary, is very San Francisco with so many rosemary bushes here. So those two married together — the flavors that migrated during the Great Migration with the fried chicken and then the freshness of the rosemary in the city, where I was born and raised. It’s like a perfect blend of Chef Fernay.\u003c/p>\n\u003cp>\u003cb>It almost seems like your approach to soul food is tradition with a little twist.\u003c/b>\u003c/p>\n\u003cp>Exactly! It’s tradition with a little twist. But the twists are not so much that it doesn’t display a homestyle comfort meal. That was so important for me, for people to eat the food and feel the comfort of home. In Emeryville, people would come and say, “Well, I’m from the South, so I’ll let you know how it tastes.” And I’m like, “Okay, that’s cool.” I know how it tastes [too], you know? But they would always come back and say, “That was so good, that really reminds me of home.” That is definitely the experience that I want people to get. Not too much of a twist, but the perfect twist.\u003c/p>\n\u003cfigure id=\"attachment_13956187\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED.jpg\" alt=\"A chef picks fresh rosemary leaves.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">McPherson prepares rosemary alongside Mundo Pérez at her new Fillmore restaurant. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You’ve been operating out of Emeryville since 2018, and now you’re getting ready to open up in San Francisco. You’ve wanted this for so long. What’s going through your mind right now?\u003c/b>\u003c/p>\n\u003cp>It’s a surreal experience. [To] be in the Fillmore, the community where I was born and raised, but also in a neighborhood that was rich in African-American culture, ownership, businesses, jazz clubs, just means so much, because I want to be able to represent a bygone era.\u003c/p>\n\u003cp>I am third generation. My aunt and dad talk about the history of the neighborhood. Then, I have my own history. So it’s three layers to what that history used to be. And by the time I was a teenager and walking around these streets, it was minimal Black businesses; whereas now, it’s almost nonexistent. So being a part of that revitalization is important, so that we can learn about the culture and know what used to be here.\u003c/p>\n\u003cp>\u003cb>Are any of your relatives, like Aunt Minnie, coming to the restaurant’s grand opening? \u003c/b>\u003c/p>\n\u003cp>We have a private grand opening party on Thursday, when my Aunt Minnie will see her face on this wall for the first time. My parents, they’re still in the neighborhood. My aunt lives with them, so they’ll all be here. My brothers will be here. My children will be here.\u003c/p>\n\u003cfigure id=\"attachment_13956189\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956189\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED.jpg\" alt=\"A paper-lined basket of fried chicken on a countertop.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">McPherson’s famous rosemary fried chicken, ready to be eaten. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you plan to serve to Aunt Minnie ?\u003c/b>\u003c/p>\n\u003cp>For her, I will do candied yams, fried chicken, cornbread and greens.\u003c/p>\n\u003cp>\u003cb>How might she respond? Are you ready for her critique?\u003c/b>\u003c/p>\n\u003cp>She critiques it all the time! She tells me all the time you’re getting better and better. She has the food often. So when she comes in, it won’t be anything new. It just has to be right. Because if it’s not, she will let me know. But when she tells me, “This was delicious,” that’s all the validation I need.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.minniebellssoul.com/\">\u003ci>Minnie Bell’s Soul Movement\u003c/i>\u003c/a>\u003ci> is located at 1375 Fillmore St. in San Francisco.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Chef Fernay McPherson brings comfort classics like fried chicken and mac and cheese to her old neighborhood.","status":"publish","parent":0,"modified":1713466316,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1225},"headData":{"title":"Minnie Bell’s New Soul Food Restaurant in the Fillmore Is a Homecoming | KQED","description":"Chef Fernay McPherson brings comfort classics like fried chicken and mac and cheese to her old neighborhood.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Minnie Bell’s New Soul Food Restaurant in the Fillmore Is a Homecoming","datePublished":"2024-04-18T18:35:26.000Z","dateModified":"2024-04-18T18:51:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/fa7e7425-862b-4a0d-92c1-b15601046432/audio.mp3","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956178/minnie-bells-soul-food-restaurant-fillmore-sf-opening","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chef Fernay McPherson has been serving her take on Southern comfort foods, like crispy rosemary fried chicken and apparently the Bay Area’s \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/an-ode-to-minnie-bell-s-gooey-mac-and-cheese-16012173.php\">best mac and cheese\u003c/a>, at her stall at The Public Market Food Hall in Emeryville since 2018. But she has long \u003ca href=\"https://www.kqed.org/news/11800814/a-black-chefs-dream-of-returning-to-the-fillmore\">dreamed\u003c/a> of running a restaurant in her hometown.\u003c/p>\n\u003cp>“My quest was to find a space in San Francisco and preferably in the Fillmore,” McPherson says.\u003c/p>\n\u003cp>She grew up in that neighborhood, once known as the “Harlem of the West,” which used to be full of Black-owned businesses. But \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">urban renewal\u003c/a> efforts from the 1950s through the 1970s forced tens of thousands of families to leave, and most businesses shut down.\u003c/p>\n\u003cp>\u003cem>WATCH KQED’s 1999 documentary on the history of Fillmore:\u003c/em>\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/a8h2meDtdm8'\n title='//www.youtube.com/embed/a8h2meDtdm8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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 few have remained, and in recent years, a citywide effort — the Dream Keeper Initiative — is trying to revitalize the area and help bring back Black-owned businesses, like \u003ca href=\"https://www.kqed.org/news/11954111/longtime-fillmore-resident-hopes-to-restore-commerce-with-black-led-marketplace\">In The Black\u003c/a>, a shared retail space.\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_13900855,arts_13916044,arts_13874853","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>The program helped make it possible for McPherson to realize her dream. On Friday, she’ll welcome the public to dine at Minnie Bell’s Soul Movement — a stand-alone brick-and-mortar version of the East Bay stall, featuring a similar menu.\u003c/p>\n\u003cp>“I want to be able to educate people who may not know what was here before,” says McPherson, wearing a blue-gray apron and a graphic T-shirt emblazoned with a photo of Whitney Houston, from inside the 40-seat establishment in the heart of the Fillmore District. “Share those stories that my dad, my aunt share with me about how rich this was and be able to represent the culture and look forward to seeing more of it.”\u003c/p>\n\u003cp>For her, food is personal, and the restaurant pays homage to her family history. One wall is decorated with a large mural of a photo of Fillmore Street in its heyday in the 1960s. Another wall has two large-scale photographs of her biggest inspirations — her grandma Lillie Bell and her great-aunt Minnie.\u003c/p>\n\u003cfigure id=\"attachment_13956186\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956186\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED.jpg\" alt=\"A fresh batch of fried chicken is pulled out of the deep fryer.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pulling a fresh batch of rosemary fried chicken out of the fryer. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I picked these photos because I wanted a photo of them in their youth, like my aunt has on her cap and gown. She was graduating high school. My grandmother was about 21 and it was a professional portrait,” she says. “I just think they look so beautiful, and when I look up at these pictures, it just gives me all the strength that I need to get through my day.”\u003c/p>\n\u003cp>McPherson talked more about how important the past has been toward shaping her present with KQED’s Adhiti Bandlamudi.\u003c/p>\n\u003cp>\u003ci>This conversation has been edited for clarity and brevity.\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>\u003cb>Adhiti Bandlamudi: Tell me more about your grandma and great aunt. How did their story manifest when it came to creating a menu and thinking about what experience you wanted to give at Minnie Bell’s Soul Movement?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Fernay McPherson:\u003c/b> While I may add a little twist to it, everything that I cook is food that I grew up eating. Before my family left Texas in the 1960s, my grandma made the chicken and pound cake for their journey into San Francisco. So we have that pound cake that she made — but [with] the addition of the caramel. I make it the same way that she taught me to make it. It was one of the cakes that everyone in the family wanted for their birthday.\u003c/p>\n\u003cp>We have fried chicken, which is the highlight of what we do, [and] the addition of the rosemary, is very San Francisco with so many rosemary bushes here. So those two married together — the flavors that migrated during the Great Migration with the fried chicken and then the freshness of the rosemary in the city, where I was born and raised. It’s like a perfect blend of Chef Fernay.\u003c/p>\n\u003cp>\u003cb>It almost seems like your approach to soul food is tradition with a little twist.\u003c/b>\u003c/p>\n\u003cp>Exactly! It’s tradition with a little twist. But the twists are not so much that it doesn’t display a homestyle comfort meal. That was so important for me, for people to eat the food and feel the comfort of home. In Emeryville, people would come and say, “Well, I’m from the South, so I’ll let you know how it tastes.” And I’m like, “Okay, that’s cool.” I know how it tastes [too], you know? But they would always come back and say, “That was so good, that really reminds me of home.” That is definitely the experience that I want people to get. Not too much of a twist, but the perfect twist.\u003c/p>\n\u003cfigure id=\"attachment_13956187\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED.jpg\" alt=\"A chef picks fresh rosemary leaves.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">McPherson prepares rosemary alongside Mundo Pérez at her new Fillmore restaurant. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You’ve been operating out of Emeryville since 2018, and now you’re getting ready to open up in San Francisco. You’ve wanted this for so long. What’s going through your mind right now?\u003c/b>\u003c/p>\n\u003cp>It’s a surreal experience. [To] be in the Fillmore, the community where I was born and raised, but also in a neighborhood that was rich in African-American culture, ownership, businesses, jazz clubs, just means so much, because I want to be able to represent a bygone era.\u003c/p>\n\u003cp>I am third generation. My aunt and dad talk about the history of the neighborhood. Then, I have my own history. So it’s three layers to what that history used to be. And by the time I was a teenager and walking around these streets, it was minimal Black businesses; whereas now, it’s almost nonexistent. So being a part of that revitalization is important, so that we can learn about the culture and know what used to be here.\u003c/p>\n\u003cp>\u003cb>Are any of your relatives, like Aunt Minnie, coming to the restaurant’s grand opening? \u003c/b>\u003c/p>\n\u003cp>We have a private grand opening party on Thursday, when my Aunt Minnie will see her face on this wall for the first time. My parents, they’re still in the neighborhood. My aunt lives with them, so they’ll all be here. My brothers will be here. My children will be here.\u003c/p>\n\u003cfigure id=\"attachment_13956189\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956189\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED.jpg\" alt=\"A paper-lined basket of fried chicken on a countertop.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">McPherson’s famous rosemary fried chicken, ready to be eaten. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you plan to serve to Aunt Minnie ?\u003c/b>\u003c/p>\n\u003cp>For her, I will do candied yams, fried chicken, cornbread and greens.\u003c/p>\n\u003cp>\u003cb>How might she respond? Are you ready for her critique?\u003c/b>\u003c/p>\n\u003cp>She critiques it all the time! She tells me all the time you’re getting better and better. She has the food often. So when she comes in, it won’t be anything new. It just has to be right. Because if it’s not, she will let me know. But when she tells me, “This was delicious,” that’s all the validation I need.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.minniebellssoul.com/\">\u003ci>Minnie Bell’s Soul Movement\u003c/i>\u003c/a>\u003ci> is located at 1375 Fillmore St. in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956178/minnie-bells-soul-food-restaurant-fillmore-sf-opening","authors":["11672","11724"],"categories":["arts_1","arts_12276","arts_235"],"tags":["arts_6357","arts_10278","arts_1806","arts_1297","arts_1050","arts_1146","arts_14729"],"featImg":"arts_13956188","label":"source_arts_13956178"},"arts_13956146":{"type":"posts","id":"arts_13956146","meta":{"index":"posts_1591205157","site":"arts","id":"13956146","score":null,"sort":[1713390959000]},"guestAuthors":[],"slug":"the-oakland-librarys-main-branch-to-close-for-six-months-for-repairs","title":"The Oakland Library's Main Branch to Close for Six Months for Repairs","publishDate":1713390959,"format":"standard","headTitle":"The Oakland Library’s Main Branch to Close for Six Months for Repairs | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The main branch of the \u003ca href=\"https://www.kqed.org/news/tag/oakland-public-library\">Oakland Public Library\u003c/a> will soon be closed for approximately six months in order to address needed repairs, the library announced Wednesday.\u003c/p>\n\u003cp>The closure of the branch, on 14th Street in downtown Oakland, will start on May 27 and last through November 2024. Other branches of the library will remain open during the main branch’s closure, including the nearby Asian Branch on 9th Street. \u003c/p>\n\u003cp>Planned improvements to the library building, built in 1950, include a new roof, a new heating and cooling system, repairs to skylights, improvements to lighting and flooring, and “critical electrical system upgrades.”\u003c/p>\n\u003cp>“There is never a good time to close,” said the library’s director Jamie Turbak in a statement. “However, these infrastructure upgrades underscore the critical need to invest in the future of the Main Library and are long overdue.” \u003c/p>\n\u003cp>[aside postID='arts_13938083']A $4.2 million portion of the cost for the repairs will be funded in part by the California State Library’s Building Forward Library Facilities Improvement Program. As part of the terms of the grant, the City of Oakland matched those funds through Measures KK and U, which were approved by the Oakland City Council in October 2023.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aside from the main branch, the Oakland Public Library operates 16 other branches, as well as the Oakland Tool Lending Library and the African American Museum & Library at Oakland.\u003c/p>\n\u003cp>In addition to access to books, computers, physical media and other services, the library branch hosts community events such as computer help sessions, job search assistance, mental health outreach, crafting activities and more. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The library has set up a \u003ca href=\"https://oaklandlibrary.org/main-library-closure/\">frequently asked questions page\u003c/a> regarding the closure.\u003c/p>\n\n","blocks":[],"excerpt":"The 74-year-old building on 14th Street in downtown Oakland will close from May 27 to November.","status":"publish","parent":0,"modified":1713390959,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":289},"headData":{"title":"The Oakland Library's Main Branch to Close for Six Months for Repairs | KQED","description":"The 74-year-old building on 14th Street in downtown Oakland will close from May 27 to November.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Oakland Library's Main Branch to Close for Six Months for Repairs","datePublished":"2024-04-17T21:55:59.000Z","dateModified":"2024-04-17T21:55:59.000Z","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/13956146/the-oakland-librarys-main-branch-to-close-for-six-months-for-repairs","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The main branch of the \u003ca href=\"https://www.kqed.org/news/tag/oakland-public-library\">Oakland Public Library\u003c/a> will soon be closed for approximately six months in order to address needed repairs, the library announced Wednesday.\u003c/p>\n\u003cp>The closure of the branch, on 14th Street in downtown Oakland, will start on May 27 and last through November 2024. Other branches of the library will remain open during the main branch’s closure, including the nearby Asian Branch on 9th Street. \u003c/p>\n\u003cp>Planned improvements to the library building, built in 1950, include a new roof, a new heating and cooling system, repairs to skylights, improvements to lighting and flooring, and “critical electrical system upgrades.”\u003c/p>\n\u003cp>“There is never a good time to close,” said the library’s director Jamie Turbak in a statement. “However, these infrastructure upgrades underscore the critical need to invest in the future of the Main Library and are long overdue.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938083","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>A $4.2 million portion of the cost for the repairs will be funded in part by the California State Library’s Building Forward Library Facilities Improvement Program. As part of the terms of the grant, the City of Oakland matched those funds through Measures KK and U, which were approved by the Oakland City Council in October 2023.\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>Aside from the main branch, the Oakland Public Library operates 16 other branches, as well as the Oakland Tool Lending Library and the African American Museum & Library at Oakland.\u003c/p>\n\u003cp>In addition to access to books, computers, physical media and other services, the library branch hosts community events such as computer help sessions, job search assistance, mental health outreach, crafting activities and more. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The library has set up a \u003ca href=\"https://oaklandlibrary.org/main-library-closure/\">frequently asked questions page\u003c/a> regarding the closure.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956146/the-oakland-librarys-main-branch-to-close-for-six-months-for-repairs","authors":["185"],"categories":["arts_1","arts_235"],"tags":["arts_10331","arts_21744","arts_1143"],"featImg":"arts_13956159","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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