Minnie Bell’s New Soul Food Restaurant in the Fillmore Is a Homecoming
A Striking New Exhibit Celebrates 50 Years of ‘Women of Rock Art’
'It's Bittersweet': The Story Behind RBL Posse’s ‘A Lesson to Be Learned’ Cover Photo
A 415 Day Lineup of San Francisco Rap Connects the Culture's History With its Future
Ronski and Show Banga's 'That Filthy' Puts Fillmore Culture Front and Center
From West Africa to the West Coast: One SF Griot's Dance of Resistance
How to Celebrate Juneteenth in the Bay Area—at Home or Outside
Conjuring Our Ancestral Spirits Through Art
The Queen of the 'Harlem of the West' Brought Glamour and Stars to the Fillmore
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Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/ArticleArchives?author=2127078&excludeCategoryType=Blog\">\u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/tag/bayareahistory/\">a history nerd\u003c/a>. 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She focuses on how housing gets built across the Bay Area. Before joining KQED in 2020, she reported for WUNC in Durham, North Carolina, WABE in Atlanta, Georgia and Capital Public Radio in Sacramento. In 2017, she was awarded a Kroc Fellowship at NPR where she reported on everything from sprinkles to the Golden State Killer's arrest. When she's not reporting, she's baking new recipes in her kitchen or watching movies with friends and family. 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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":""},"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_13951425":{"type":"posts","id":"arts_13951425","meta":{"index":"posts_1591205157","site":"arts","id":"13951425","score":null,"sort":[1707169802000]},"guestAuthors":[],"slug":"women-of-rock-art-haight-st-center-bonnie-maclean-tara-mcpherson","title":"A Striking New Exhibit Celebrates 50 Years of ‘Women of Rock Art’","publishDate":1707169802,"format":"aside","headTitle":"A Striking New Exhibit Celebrates 50 Years of ‘Women of Rock Art’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13951426\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png\" alt=\"A gold, purple and orange design showing a mystic and a crystal ball, one hand raised in wonder.\" width=\"812\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-768x1122.png 768w\" sizes=\"(max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 Bonnie MacLean design promoting Cream at the Fillmore. \u003ccite>(Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Feb. 4, 2020, the world lost Bonnie MacLean — an artist whose work adorned \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">Fillmore\u003c/a> music posters throughout the Summer of Love. MacLean’s images encompassed elements of art nouveau, psychedelia and hippie culture. They used high contrast colors for maximum impact. And they advertised concerts for the likes of Jefferson Airplane, The Who, Chuck Berry, The Doors, Donovan and Pink Floyd.\u003c/p>\n\u003cp>[aside postid='arts_13950359']During her time making the Fillmore — and San Francisco — a more beautiful place, MacClean designed just 32 posters. Nine of those collectors’ items are currently on display as part of \u003ca href=\"https://haightstreetart.org/pages/women-of-rock-art\">\u003cem>Women of Rock Art: 1965-2023\u003c/em>\u003c/a>, a new exhibit at the Haight Street Art Center curated by Ben Marks. The show focuses exclusively on female poster artists, many of whom hail from the Bay Area or lived here at some point. (They may not have local links, but the striking work of \u003ca href=\"https://www.taramcpherson.com/\">Tara McPherson\u003c/a>, \u003ca href=\"https://isadorabullock.art/\">Isadora Bullock\u003c/a>, \u003ca href=\"https://www.housandarts.com/\">Chelsea Housand\u003c/a>, \u003ca href=\"https://www.sadiemaysart.com/about\">Sadie May\u003c/a> and \u003ca href=\"https://mishkawestell.com/posters/\">Mishka Westell\u003c/a> feels perfectly at home in this show.)\u003c/p>\n\u003cp>The exhibit is a jaunt through this particular brand of rock ‘n’ roll artwork through the decades — almost all of which reflects its era and the influences of the women making it. Two hundred pieces by 55 artists are included, starting with hand-drawn hallucinogen-inspired experiments of the 1960s. That style was perfected by Berkeley-born \u003ca href=\"https://www.johnmccarty.org/sam-sirdofsky/\">Samantha Sirdofsky\u003c/a>, but lovingly and more loosely played with by others, including a mysterious artist known only as Marjorie. The screen-printed work of Coralie Russo carries similar silhouettes to her peers but a simpler, bolder color palette — a product of her tool of choice.\u003c/p>\n\u003cfigure id=\"attachment_13951568\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg\" alt=\"Illustration of a woman's face, facing forward, wearing a winged helmet with a peace sign on it.\" width=\"552\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n-160x213.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 anti-draft benefit poster by Coralie Russo. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The posters from this period aren’t just for live shows. Some promote anti-draft benefits, children’s events and one Grateful Dead concert that also featured “mime troupe puppets.” Given the limited opportunities available for female artists of the period, it’s no wonder they were advertising some of the more fringe gatherings.\u003c/p>\n\u003cp>[aside postid='arts_13950886']It’s well established that the art of San Francisco’s 1960s music scene was dominated by the so-called “Big Five”: Stanley Mouse, Alton Kelley, Victor Moscoco, Rick Griffin and Wes Wilson. Bonnie MacLean was only granted more opportunities at the Fillmore after Bill Graham and Wes Wilson had a difference of opinion and Wilson quit. MacLean was readily available — she was married to Graham at the time. Even so, before Wilson left she had been relegated to painting noticeboards within the venue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of the exhibit is presented without comment and that’s no accident either. Curator Ben Marks explained to KQED that despite his best efforts, little is known today about some of the earliest women featured. Thankfully, the exhibit’s introductory statement acknowledges just what these women were up against at the dawn of the artform.\u003c/p>\n\u003cfigure id=\"attachment_13951587\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png\" alt=\"A wall of scrappy multicolored flyers advertising concerts.\" width=\"1660\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-768x500.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1536x999.png 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">‘Women of Rock Art’ also features a wall of 1980s flyers donated by Seattle punk band, Student Nurse. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post-1960s, \u003cem>Women of Rock Art\u003c/em> rather starkly leaps straight into the 1980s — a jump made all the more jarring by that decade’s shift away from paint to photography. That style is best embodied here by \u003ca href=\"https://www.kqed.org/news/11966749/meet-the-woman-behind-the-fillmores-famous-posters\">the work of Arlene Owseichik\u003c/a>, but feels a touch impersonal by comparison to everything around it. No fault of the artist: The work embodies that decade’s hard lean away from the crowded, swirling aesthetics of the 1970s and into a new, cleaner, MTV-infused modernity.\u003c/p>\n\u003cp>[aside postid='news_11966749']Work on display here from the ’90s demonstrates valiant attempts at combining photos and screen-printing on the same poster. That method was sadly short-lived, and dynamic posters here for Throwing Muses, Big Star and Lush will make you wonder why we gave up on it altogether.\u003c/p>\n\u003cp>The new millennium brought with it a return to hyper-detailed and hand-drawn pieces, like that of Bay Area artists \u003ca href=\"https://www.laurenyurkovich.com/\">Lauren Yurkovich\u003c/a> and \u003ca href=\"https://alexandrafischerstudio.com/\">Alexandra Fischer\u003c/a>. There have been few obvious trend shifts in the last 20 years either — a post-modern reflection of the ways in which music culture has become more egalitarian since the dawn of the internet.\u003c/p>\n\u003cp>It is, however, impossible to ignore the sense of full circularity when looking at some of the newest posters on display. One 2022 Soul Asylum promo by \u003ca href=\"https://www.carolynferris.com/\">Carolyn Ferris\u003c/a> — featuring a woman’s face in side profile with band names unfurling in front of her in waves — appears to be a direct homage to a 1967 Bonnie MacLean piece elsewhere in the exhibit. And Oakland-based artist \u003ca href=\"https://caitlinmattisson.com/\">Caitlin Mattison\u003c/a> combines hyper-detailed modern techniques with aesthetics that clearly hark back to the work of the women that came before her.\u003c/p>\n\u003cfigure id=\"attachment_13951554\" class=\"wp-caption aligncenter\" style=\"max-width: 1995px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg\" alt=\"Illustration featuring a bohemian looking woman sitting on a horseshoe and surrounded by wilderness.\" width=\"1995\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg 1995w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-800x1026.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1020x1309.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-768x985.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1197x1536.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1596x2048.jpg 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1920x2463.jpg 1920w\" sizes=\"(max-width: 1995px) 100vw, 1995px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Mattison’s poster for last year’s Hardly Strictly Bluegrass festival. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which would no doubt thrill Bonnie MacLean. In one interview a few years before her death, MacLean noted: “I think handwork needs to be kept alive. It’s something people are inclined to do naturally. It’s something we have a human built-in desire to do. It always has been. It still is.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women of Rock Art: 1965-2023’ is on display now through April 14, 2024. Artist and photographer Arlene Owseichik will appear for a Q&A on Feb. 9 at 6 p.m. An official opening party will take place on Feb. 16 at 6 p.m. Visit the \u003ca href=\"https://haightstreetart.org/\">Haight Street Art Center website\u003c/a> for details.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The new Haight St. Art Center show displays the work of female poster artists dating back to the Summer of Love.","status":"publish","parent":0,"modified":1709667632,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":963},"headData":{"title":"Review: Rock ‘N’ Roll Poster Art at the Haight St. Art Center | KQED","description":"The new Haight St. Art Center show displays the work of female poster artists dating back to the Summer of Love.","ogTitle":"A Striking New Exhibit Celebrates 50 Years of ‘Women of Rock Art’","ogDescription":"","ogImgId":"","twTitle":"A Striking New Exhibit Celebrates 50 Years of ‘Women of Rock Art’","twDescription":"","twImgId":"","socialTitle":"Review: Rock ‘N’ Roll Poster Art at the Haight St. Art Center %%page%% %%sep%% KQED"},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/53db4b91-18ac-4c8c-820f-b1240148344c/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951425/women-of-rock-art-haight-st-center-bonnie-maclean-tara-mcpherson","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951426\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png\" alt=\"A gold, purple and orange design showing a mystic and a crystal ball, one hand raised in wonder.\" width=\"812\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-768x1122.png 768w\" sizes=\"(max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 Bonnie MacLean design promoting Cream at the Fillmore. \u003ccite>(Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Feb. 4, 2020, the world lost Bonnie MacLean — an artist whose work adorned \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">Fillmore\u003c/a> music posters throughout the Summer of Love. MacLean’s images encompassed elements of art nouveau, psychedelia and hippie culture. They used high contrast colors for maximum impact. And they advertised concerts for the likes of Jefferson Airplane, The Who, Chuck Berry, The Doors, Donovan and Pink Floyd.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950359","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>During her time making the Fillmore — and San Francisco — a more beautiful place, MacClean designed just 32 posters. Nine of those collectors’ items are currently on display as part of \u003ca href=\"https://haightstreetart.org/pages/women-of-rock-art\">\u003cem>Women of Rock Art: 1965-2023\u003c/em>\u003c/a>, a new exhibit at the Haight Street Art Center curated by Ben Marks. The show focuses exclusively on female poster artists, many of whom hail from the Bay Area or lived here at some point. (They may not have local links, but the striking work of \u003ca href=\"https://www.taramcpherson.com/\">Tara McPherson\u003c/a>, \u003ca href=\"https://isadorabullock.art/\">Isadora Bullock\u003c/a>, \u003ca href=\"https://www.housandarts.com/\">Chelsea Housand\u003c/a>, \u003ca href=\"https://www.sadiemaysart.com/about\">Sadie May\u003c/a> and \u003ca href=\"https://mishkawestell.com/posters/\">Mishka Westell\u003c/a> feels perfectly at home in this show.)\u003c/p>\n\u003cp>The exhibit is a jaunt through this particular brand of rock ‘n’ roll artwork through the decades — almost all of which reflects its era and the influences of the women making it. Two hundred pieces by 55 artists are included, starting with hand-drawn hallucinogen-inspired experiments of the 1960s. That style was perfected by Berkeley-born \u003ca href=\"https://www.johnmccarty.org/sam-sirdofsky/\">Samantha Sirdofsky\u003c/a>, but lovingly and more loosely played with by others, including a mysterious artist known only as Marjorie. The screen-printed work of Coralie Russo carries similar silhouettes to her peers but a simpler, bolder color palette — a product of her tool of choice.\u003c/p>\n\u003cfigure id=\"attachment_13951568\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg\" alt=\"Illustration of a woman's face, facing forward, wearing a winged helmet with a peace sign on it.\" width=\"552\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n-160x213.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 anti-draft benefit poster by Coralie Russo. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The posters from this period aren’t just for live shows. Some promote anti-draft benefits, children’s events and one Grateful Dead concert that also featured “mime troupe puppets.” Given the limited opportunities available for female artists of the period, it’s no wonder they were advertising some of the more fringe gatherings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950886","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s well established that the art of San Francisco’s 1960s music scene was dominated by the so-called “Big Five”: Stanley Mouse, Alton Kelley, Victor Moscoco, Rick Griffin and Wes Wilson. Bonnie MacLean was only granted more opportunities at the Fillmore after Bill Graham and Wes Wilson had a difference of opinion and Wilson quit. MacLean was readily available — she was married to Graham at the time. Even so, before Wilson left she had been relegated to painting noticeboards within the venue.\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>Most of the exhibit is presented without comment and that’s no accident either. Curator Ben Marks explained to KQED that despite his best efforts, little is known today about some of the earliest women featured. Thankfully, the exhibit’s introductory statement acknowledges just what these women were up against at the dawn of the artform.\u003c/p>\n\u003cfigure id=\"attachment_13951587\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png\" alt=\"A wall of scrappy multicolored flyers advertising concerts.\" width=\"1660\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-768x500.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1536x999.png 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">‘Women of Rock Art’ also features a wall of 1980s flyers donated by Seattle punk band, Student Nurse. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post-1960s, \u003cem>Women of Rock Art\u003c/em> rather starkly leaps straight into the 1980s — a jump made all the more jarring by that decade’s shift away from paint to photography. That style is best embodied here by \u003ca href=\"https://www.kqed.org/news/11966749/meet-the-woman-behind-the-fillmores-famous-posters\">the work of Arlene Owseichik\u003c/a>, but feels a touch impersonal by comparison to everything around it. No fault of the artist: The work embodies that decade’s hard lean away from the crowded, swirling aesthetics of the 1970s and into a new, cleaner, MTV-infused modernity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11966749","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Work on display here from the ’90s demonstrates valiant attempts at combining photos and screen-printing on the same poster. That method was sadly short-lived, and dynamic posters here for Throwing Muses, Big Star and Lush will make you wonder why we gave up on it altogether.\u003c/p>\n\u003cp>The new millennium brought with it a return to hyper-detailed and hand-drawn pieces, like that of Bay Area artists \u003ca href=\"https://www.laurenyurkovich.com/\">Lauren Yurkovich\u003c/a> and \u003ca href=\"https://alexandrafischerstudio.com/\">Alexandra Fischer\u003c/a>. There have been few obvious trend shifts in the last 20 years either — a post-modern reflection of the ways in which music culture has become more egalitarian since the dawn of the internet.\u003c/p>\n\u003cp>It is, however, impossible to ignore the sense of full circularity when looking at some of the newest posters on display. One 2022 Soul Asylum promo by \u003ca href=\"https://www.carolynferris.com/\">Carolyn Ferris\u003c/a> — featuring a woman’s face in side profile with band names unfurling in front of her in waves — appears to be a direct homage to a 1967 Bonnie MacLean piece elsewhere in the exhibit. And Oakland-based artist \u003ca href=\"https://caitlinmattisson.com/\">Caitlin Mattison\u003c/a> combines hyper-detailed modern techniques with aesthetics that clearly hark back to the work of the women that came before her.\u003c/p>\n\u003cfigure id=\"attachment_13951554\" class=\"wp-caption aligncenter\" style=\"max-width: 1995px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg\" alt=\"Illustration featuring a bohemian looking woman sitting on a horseshoe and surrounded by wilderness.\" width=\"1995\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg 1995w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-800x1026.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1020x1309.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-768x985.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1197x1536.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1596x2048.jpg 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1920x2463.jpg 1920w\" sizes=\"(max-width: 1995px) 100vw, 1995px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Mattison’s poster for last year’s Hardly Strictly Bluegrass festival. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which would no doubt thrill Bonnie MacLean. In one interview a few years before her death, MacLean noted: “I think handwork needs to be kept alive. It’s something people are inclined to do naturally. It’s something we have a human built-in desire to do. It always has been. It still is.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women of Rock Art: 1965-2023’ is on display now through April 14, 2024. Artist and photographer Arlene Owseichik will appear for a Q&A on Feb. 9 at 6 p.m. An official opening party will take place on Feb. 16 at 6 p.m. Visit the \u003ca href=\"https://haightstreetart.org/\">Haight Street Art Center website\u003c/a> for details.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951425/women-of-rock-art-haight-st-center-bonnie-maclean-tara-mcpherson","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_10342","arts_10278","arts_1806","arts_1761","arts_585"],"featImg":"arts_13951546","label":"arts_140"},"arts_13923766":{"type":"posts","id":"arts_13923766","meta":{"index":"posts_1591205157","site":"arts","id":"13923766","score":null,"sort":[1675282131000]},"guestAuthors":[],"slug":"rbl-posse-a-lesson-to-be-learned-album-cover","title":"'It's Bittersweet': The Story Behind RBL Posse’s ‘A Lesson to Be Learned’ Cover Photo","publishDate":1675282131,"format":"standard","headTitle":"‘It’s Bittersweet’: The Story Behind RBL Posse’s ‘A Lesson to Be Learned’ Cover Photo | KQED","labelTerm":{},"content":"\u003cp>\u003cb>\u003ci>Editor’s note: \u003c/i>\u003c/b>\u003ci>This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003cem>RBL Posse’s debut album \u003c/em>A Lesson to Be Learned\u003cem> is a Bay Area classic that sold over 220,000 copies and put Hunters Point on the map. Here, RBL Posse’s \u003ca href=\"https://www.instagram.com/blackc/?hl=en\">Black C\u003c/a>, a.k.a. Christian Mathews, recalls the neighborhood circumstances surrounding the album’s iconic cover photo.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Location\u003c/strong>: Harbor and Northridge Roads, Hunters Point, San Francisco\u003cbr>\n\u003cstrong>As told to\u003c/strong>: Gabe Meline \u003c/em>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he day we shot the cover for \u003cem>Lesson to be Learned\u003c/em>, we were just trying to represent our neighborhood.\u003c/p>\n\u003cp>Back then, an album cover was more about the eye candy — you pick it up and you see a bunch of guys on it, spray paint on the wall, stuff like that, and it makes you curious. I was really influenced by N.W.A. and the Geto Boys, so even though it was only me and Mr. Cee rapping in RBL, I gathered up a couple of my friends from the neighborhood to be in the picture. This is back when you had, like, \u003ca href=\"https://i.discogs.com/o1OhlCJWFiJN08RD3rFLuohEgsk6weI76QpEQ1CT39o/rs:fit/g:sm/q:90/h:600/w:597/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTEyMzM3/NTgtMTIwMjU2MTgz/NC5qcGVn.jpeg\">posse photos\u003c/a>. It attracted attention. People was like, “Oh, that’s a \u003cem>crew\u003c/em> — where they from?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I told them dudes to go put on they RBL jackets, ’cause we all had RBL jackets made at Serramonte shopping mall. And we just had one of those little wind-up Kodak cameras, the kind you buy from Walgreens. My little brother Acie Matthews took the picture. He wasn’t a professional. He was just the only one out there with us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13923773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_-160x160.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>We tried a few different things that day. We had a song called “More Like an Orgy,” where I talk about rollin’ four deep in a mail Jeep, so we actually did a photo with the mail Jeep. We did a photo on top of the building by the Harbor Road sign. I wish I still had those photos.\u003c/p>\n\u003cp>And then we took a couple photos there in the basketball court, because not only did it have a lot of our names on the walls with spraypaint, but it was an area where we all gathered. We were doing barbecues there, shooting dice, hanging out, playing hunches. It was just a staple in our neighborhood. [pullquote citation='Black C' size='large' align='right']‘I look at that picture and get happy, and then at times I’m sad about the whole thing. I have dudes behind me in the picture who really didn’t have my back. It’s bittersweet.’[/pullquote]\u003c/p>\n\u003cp>The picture we actually used, sitting up on the stairs at the basketball court, that one just stood out to me. It had that grimy look and represented us, you know, it just represented our neighborhood. Anybody that’s seen that picture, especially from Hunters Point, knew exactly where that was that. They knew that was our road.\u003c/p>\n\u003cfigure id=\"attachment_13923776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse perform at the basketball court on Harbor Road, where the cover photo for ‘A Lesson to Be Learned’ was taken. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did so many things at the basketball court. I got shot and lost my eye close by there. We learned how to fight there. Learned how to play basketball. Our first concert we ever did in the neighborhood was done there. Back when we was hustling, that’s where everybody was at, from the OGs down to the youngsters.\u003c/p>\n\u003cp>At the time, I was living at 27 Harbor Road, the next building over. Before I even got outside and started hustling, I used to run to the candy house across the street, down them stairs across from the basketball court. I was doing store runs down to Surfside Liquors — that’s Bob’s store — or going to the candy house for the OGs that was around there hustlin’.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nhRJnuCrAoM\u003c/p>\n\u003cp>Looking at that photo now, it’s happy and it’s sad. I think about the day we took it, how we was all together, and havin’ fun. We was just happy about RBL. We had no idea it was going to take off like it did. The song “Don’t Give Me No Bammer Weed” — I knew that was hot because of what it did locally for us. I knew we had a hit on our hands. Everybody was excited, everybody had RBL jackets, and the whole neighborhood then, it was unity.\u003c/p>\n\u003cp>But then also when I look at that photo, that same album caused a divide. It brought jealousy to the dudes within the camp. The guy that’s standin’ up behind Mr. Cee — Boobie, me and him fell apart, and it split the turf in half, and that kind of caused the demise of Mr. Cee, him getting killed. I look at that picture and get happy, and then at times I’m sad about the whole thing. I have dudes behind me in the picture who really didn’t have my back. It’s bittersweet.\u003c/p>\n\u003cfigure id=\"attachment_13924411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg\" alt=\"A man in black leans out the drivers-side window of a vintage teal-blue car with buildings in the background\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1920x1284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse’s Black C in his 1966 Skylark on Harbor Road in Hunters Point, circa 1990s. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing on the right-hand side, that’s Lil’ Mo, I still deal with him. Rest in peace to his sister, my kid’s mom — Lil’ Mo’s her brother. And that’s me in front of him with a beanie hat on.\u003c/p>\n\u003cp>And then in the middle you have Curtis. He’s dead now. He was one of the guys that I didn’t get along with later on. He switched up on them after we left and became a snitch, worked for the state or something. But he ended up getting killed some years back in Oakland.\u003c/p>\n\u003cp>And then you have Mr. Cee to the left of him, at the bottom. Rest in peace, Mr. Cee, that was my partner.\u003c/p>\n\u003cp>The one at the top above Mr. Cee, that’s Boobie. He just got out from doing 19 years. The whole thing with Boobie and them, when the turf split up, they became Big Block and they kind of went against us, and the whole stuff happened. The feds came in, took them to jail, and Curtis told on Boobie and a few other people.\u003c/p>\n\u003cp>Me and Boobie talked a couple months ago. We’re going to let bygones be bygones, and at least be cordial moving forward. So we good.\u003c/p>\n\u003cp>And the graffiti in the back. We had all our names spraypainted at the basketball court, and little phrases and sayings we used. We had R.I.P. Chucky, our boy who had passed away. Behind me on the cover you can see an R.I.P. for Tone — that’s our boy Tone that got killed by the Vallejo PD.\u003c/p>\n\u003cfigure id=\"attachment_13923778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png\" alt=\"Two young men sit on graffiti-covered steps, looking into the camera\" width=\"800\" height=\"690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-1020x880.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-768x662.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black C on the basketball court steps with Herm Lewis (L–R), whose spoken-word intro on ‘A Lesson to Be Learned’ begins: “To survive the difficulties of these ghetto circumstances, we must motivate and respect each other, because the system is causing considerable damage to the Black man.” \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m 50 now. And that’s why \u003ca href=\"https://rblposse.bigcartel.com/product/black-c-a-part-of-survival-from-the-block-to-the-booth-book\" target=\"_blank\" rel=\"noopener\">I put it all in my book\u003c/a>. I talk about everything, from the block to the booth. From being outside, losing my eye, and being part of the Sunnydale-Fillmore turf wars, to me being part of the truce, and bringing Sunnydale and Fillmore together. And then the fallout of my neighborhood, how it all happened. The fallout with our our label, In-a-Minute Records, who we signed to at the time.\u003c/p>\n\u003cp>[aside postid='arts_13924126']And even now, today, the fans still come out to see us. Even though they know we lost two members. We lost Mr. Cee, and we lost Hitman later on.\u003c/p>\n\u003cp>I pressed forward and kept doing music, and thank God I didn’t have any problems. I’m still here to tell the story, you know?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"RBL Posse's Black C recalls the album's photo shoot — and how its success fractured Hunters Point.","status":"publish","parent":0,"modified":1705005898,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1405},"headData":{"title":"'It's Bittersweet': The Story Behind RBL Posse’s ‘A Lesson to Be Learned’ Cover Photo | KQED","description":"RBL Posse's Black C tells the story behind the photo, and how the album's success fractured Hunters Point.","ogTitle":"The Story Behind RBL Posse’s ‘A Lesson to Be Learned’ Cover Photo","ogDescription":"RBL Posse's Black C recalls the album's photo shoot — and how its success fractured Hunters Point.","ogImgId":"arts_13924196","twTitle":"The Story Behind RBL Posse’s ‘A Lesson to Be Learned’ Cover Photo","twDescription":"RBL Posse's Black C recalls the album's photo shoot — and how its success fractured Hunters Point.","twImgId":"arts_13924196","socialDescription":"RBL Posse's Black C tells the story behind the photo, and how the album's success fractured Hunters Point."},"source":"That's My Word","sourceUrl":"https://www.kqed.org/bayareahiphop","sticky":false,"nprByline":"Black C","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13923766/rbl-posse-a-lesson-to-be-learned-album-cover","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note: \u003c/i>\u003c/b>\u003ci>This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003cem>RBL Posse’s debut album \u003c/em>A Lesson to Be Learned\u003cem> is a Bay Area classic that sold over 220,000 copies and put Hunters Point on the map. Here, RBL Posse’s \u003ca href=\"https://www.instagram.com/blackc/?hl=en\">Black C\u003c/a>, a.k.a. Christian Mathews, recalls the neighborhood circumstances surrounding the album’s iconic cover photo.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Location\u003c/strong>: Harbor and Northridge Roads, Hunters Point, San Francisco\u003cbr>\n\u003cstrong>As told to\u003c/strong>: Gabe Meline \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he day we shot the cover for \u003cem>Lesson to be Learned\u003c/em>, we were just trying to represent our neighborhood.\u003c/p>\n\u003cp>Back then, an album cover was more about the eye candy — you pick it up and you see a bunch of guys on it, spray paint on the wall, stuff like that, and it makes you curious. I was really influenced by N.W.A. and the Geto Boys, so even though it was only me and Mr. Cee rapping in RBL, I gathered up a couple of my friends from the neighborhood to be in the picture. This is back when you had, like, \u003ca href=\"https://i.discogs.com/o1OhlCJWFiJN08RD3rFLuohEgsk6weI76QpEQ1CT39o/rs:fit/g:sm/q:90/h:600/w:597/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTEyMzM3/NTgtMTIwMjU2MTgz/NC5qcGVn.jpeg\">posse photos\u003c/a>. It attracted attention. People was like, “Oh, that’s a \u003cem>crew\u003c/em> — where they from?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I told them dudes to go put on they RBL jackets, ’cause we all had RBL jackets made at Serramonte shopping mall. And we just had one of those little wind-up Kodak cameras, the kind you buy from Walgreens. My little brother Acie Matthews took the picture. He wasn’t a professional. He was just the only one out there with us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13923773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_-160x160.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>We tried a few different things that day. We had a song called “More Like an Orgy,” where I talk about rollin’ four deep in a mail Jeep, so we actually did a photo with the mail Jeep. We did a photo on top of the building by the Harbor Road sign. I wish I still had those photos.\u003c/p>\n\u003cp>And then we took a couple photos there in the basketball court, because not only did it have a lot of our names on the walls with spraypaint, but it was an area where we all gathered. We were doing barbecues there, shooting dice, hanging out, playing hunches. It was just a staple in our neighborhood. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I look at that picture and get happy, and then at times I’m sad about the whole thing. I have dudes behind me in the picture who really didn’t have my back. It’s bittersweet.’","name":"pullquote","attributes":{"named":{"citation":"Black C","size":"large","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The picture we actually used, sitting up on the stairs at the basketball court, that one just stood out to me. It had that grimy look and represented us, you know, it just represented our neighborhood. Anybody that’s seen that picture, especially from Hunters Point, knew exactly where that was that. They knew that was our road.\u003c/p>\n\u003cfigure id=\"attachment_13923776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse perform at the basketball court on Harbor Road, where the cover photo for ‘A Lesson to Be Learned’ was taken. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did so many things at the basketball court. I got shot and lost my eye close by there. We learned how to fight there. Learned how to play basketball. Our first concert we ever did in the neighborhood was done there. Back when we was hustling, that’s where everybody was at, from the OGs down to the youngsters.\u003c/p>\n\u003cp>At the time, I was living at 27 Harbor Road, the next building over. Before I even got outside and started hustling, I used to run to the candy house across the street, down them stairs across from the basketball court. I was doing store runs down to Surfside Liquors — that’s Bob’s store — or going to the candy house for the OGs that was around there hustlin’.\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/nhRJnuCrAoM'\n title='//www.youtube.com/embed/nhRJnuCrAoM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Looking at that photo now, it’s happy and it’s sad. I think about the day we took it, how we was all together, and havin’ fun. We was just happy about RBL. We had no idea it was going to take off like it did. The song “Don’t Give Me No Bammer Weed” — I knew that was hot because of what it did locally for us. I knew we had a hit on our hands. Everybody was excited, everybody had RBL jackets, and the whole neighborhood then, it was unity.\u003c/p>\n\u003cp>But then also when I look at that photo, that same album caused a divide. It brought jealousy to the dudes within the camp. The guy that’s standin’ up behind Mr. Cee — Boobie, me and him fell apart, and it split the turf in half, and that kind of caused the demise of Mr. Cee, him getting killed. I look at that picture and get happy, and then at times I’m sad about the whole thing. I have dudes behind me in the picture who really didn’t have my back. It’s bittersweet.\u003c/p>\n\u003cfigure id=\"attachment_13924411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg\" alt=\"A man in black leans out the drivers-side window of a vintage teal-blue car with buildings in the background\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1920x1284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse’s Black C in his 1966 Skylark on Harbor Road in Hunters Point, circa 1990s. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing on the right-hand side, that’s Lil’ Mo, I still deal with him. Rest in peace to his sister, my kid’s mom — Lil’ Mo’s her brother. And that’s me in front of him with a beanie hat on.\u003c/p>\n\u003cp>And then in the middle you have Curtis. He’s dead now. He was one of the guys that I didn’t get along with later on. He switched up on them after we left and became a snitch, worked for the state or something. But he ended up getting killed some years back in Oakland.\u003c/p>\n\u003cp>And then you have Mr. Cee to the left of him, at the bottom. Rest in peace, Mr. Cee, that was my partner.\u003c/p>\n\u003cp>The one at the top above Mr. Cee, that’s Boobie. He just got out from doing 19 years. The whole thing with Boobie and them, when the turf split up, they became Big Block and they kind of went against us, and the whole stuff happened. The feds came in, took them to jail, and Curtis told on Boobie and a few other people.\u003c/p>\n\u003cp>Me and Boobie talked a couple months ago. We’re going to let bygones be bygones, and at least be cordial moving forward. So we good.\u003c/p>\n\u003cp>And the graffiti in the back. We had all our names spraypainted at the basketball court, and little phrases and sayings we used. We had R.I.P. Chucky, our boy who had passed away. Behind me on the cover you can see an R.I.P. for Tone — that’s our boy Tone that got killed by the Vallejo PD.\u003c/p>\n\u003cfigure id=\"attachment_13923778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png\" alt=\"Two young men sit on graffiti-covered steps, looking into the camera\" width=\"800\" height=\"690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-1020x880.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-768x662.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black C on the basketball court steps with Herm Lewis (L–R), whose spoken-word intro on ‘A Lesson to Be Learned’ begins: “To survive the difficulties of these ghetto circumstances, we must motivate and respect each other, because the system is causing considerable damage to the Black man.” \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m 50 now. And that’s why \u003ca href=\"https://rblposse.bigcartel.com/product/black-c-a-part-of-survival-from-the-block-to-the-booth-book\" target=\"_blank\" rel=\"noopener\">I put it all in my book\u003c/a>. I talk about everything, from the block to the booth. From being outside, losing my eye, and being part of the Sunnydale-Fillmore turf wars, to me being part of the truce, and bringing Sunnydale and Fillmore together. And then the fallout of my neighborhood, how it all happened. The fallout with our our label, In-a-Minute Records, who we signed to at the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924126","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>And even now, today, the fans still come out to see us. Even though they know we lost two members. We lost Mr. Cee, and we lost Hitman later on.\u003c/p>\n\u003cp>I pressed forward and kept doing music, and thank God I didn’t have any problems. I’m still here to tell the story, you know?\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923766/rbl-posse-a-lesson-to-be-learned-album-cover","authors":["byline_arts_13923766"],"categories":["arts_1","arts_835","arts_69","arts_70"],"tags":["arts_8505","arts_1806","arts_831","arts_4017","arts_4355","arts_19347"],"featImg":"arts_13924611","label":"source_arts_13923766"},"arts_13911888":{"type":"posts","id":"arts_13911888","meta":{"index":"posts_1591205157","site":"arts","id":"13911888","score":null,"sort":[1649869204000]},"guestAuthors":[],"slug":"415-day-san-francisco-rap-rbl-posse-stunnaman02-fillmore-hunters-point","title":"A 415 Day Lineup of San Francisco Rap Connects the Culture's History With its Future","publishDate":1649869204,"format":"standard","headTitle":"A 415 Day Lineup of San Francisco Rap Connects the Culture’s History With its Future | KQED","labelTerm":{},"content":"\u003cp>Area codes have always been a \u003cem>thing\u003c/em> in rap. (Just ask \u003ca href=\"https://www.youtube.com/watch?v=sTUU4JqFykM\" target=\"_blank\" rel=\"noopener noreferrer\">Ludacris\u003c/a>.) But in 1991, Bay Area area code representation got a little murky. That’s the year the East Bay ceded its 415 area code to the West Bay and Marin, and adopted 510 as its dialing prefix. For certain rap artists, the effect was utter chaos: \u003ca href=\"https://www.discogs.com/artist/182866-415\" target=\"_blank\" rel=\"noopener noreferrer\">an entire Oakland rap group called 415 disbanded\u003c/a>, and \u003ca href=\"https://www.discogs.com/release/18383851-Various-East-Side-415\" target=\"_blank\" rel=\"noopener noreferrer\">whole swaths of East Bay rap songs referencing the 415\u003c/a> became obsolete.\u003c/p>\n\u003cp>These days, the 415 is a proud marker of San Francisco rap all across the city, from the Fillmore to Hunters Point. And \u003ca href=\"https://www.415day.com/\" target=\"_blank\" rel=\"noopener noreferrer\">415 Day\u003c/a>, the very definition of a call-into-work-sick Friday afternoon party, is a celebration of that culture.\u003c/p>\n\u003cp>[aside postID='arts_13895586']Featured performers include early-1990s Hunters Point legends RBL Posse (“\u003ca href=\"https://www.youtube.com/watch?v=nhRJnuCrAoM\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Give Me No Bammer Weed\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=t5s8cJpsXBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Bird\u003c/a>“) alongside Hunters Point’s new breed, \u003ca href=\"https://www.kqed.org/arts/13828036/talking-with-prezi-the-rapper-pledging-to-do-better-for-hunters-point\" target=\"_blank\" rel=\"noopener noreferrer\">Prezi\u003c/a> (“\u003ca href=\"https://www.youtube.com/watch?v=OLGtumQ1GMk\" target=\"_blank\" rel=\"noopener noreferrer\">Do Better\u003c/a>“). The day also pairs up Fillmore stalwarts Show Banga & Ronski (“\u003ca href=\"https://www.youtube.com/watch?v=g2J_xGPGHjI\" target=\"_blank\" rel=\"noopener noreferrer\">That Filthy\u003c/a>“) with a set from current Fillmore sensation Stunnaman02—whose “\u003ca href=\"https://www.youtube.com/watch?v=5svEkex2YYo\" target=\"_blank\" rel=\"noopener noreferrer\">Big Steppin’\u003c/a>” is so ubiquitous, so long-lasting, that if you haven’t heard it or \u003ca href=\"https://mobile.twitter.com/gmeline/status/1468811474214612995\" target=\"_blank\" rel=\"noopener noreferrer\">done its viral dance\u003c/a>, uh… do you even live in the Bay?\u003c/p>\n\u003cp>For your $10 ticket, also expect food trucks (area fave Señor Sisig among them) and vendors (Cookies, naturally), plus special silkscreening by artists \u003ca href=\"https://www.instagram.com/coldgame650/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Colin Taniguchi\u003c/a> and \u003ca href=\"https://www.instagram.com/kuyageorge/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kuya George\u003c/a>. The event’s producer EMPIRE collaborates with FTC Skateboards \u003ca href=\"https://www.instagram.com/ftc_skateboarding/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">for some planned merch\u003c/a>, and a 45rpm record from EMPIRE specially for the event will be available, with music by Andre Nickatina, RBL Posse and FO15.\u003c/p>\n\u003cp>And it don’t stop: that same night at 7pm, right up the street at KQED’s new event space, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> host Pendarvis Harshaw interviews Rocky Rivera\u003c/a>, the Filipina American MC, author, educator and journalist, before she delivers her own solo set with DJ Roza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where was Rocky raised, you ask? Of course: the 415.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More details about 415 Day, running Friday, April 15 from 2pm-8pm at District Six in San Francisco, \u003ca href=\"https://www.415day.com/\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. Details about Rocky Rivera’s appearance at the KQED Commons, starting Friday, April 15 at 7pm, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Performances by RBL Posse, Stunnaman02, Show Banga & Ronski and Prezi celebrate the 415 on April 15.","status":"publish","parent":0,"modified":1705006978,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":388},"headData":{"title":"A 415 Day Lineup of San Francisco Rap Connects the Culture's History With its Future | KQED","description":"Performances by RBL Posse, Stunnaman02, Show Banga & Ronski and Prezi celebrate the 415 on April 15.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Food","sticky":false,"WpOldSlug":"a-415-day-lineup-of-san-francisco-rap-connects-the-citys-history-with-its-future","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13911888/415-day-san-francisco-rap-rbl-posse-stunnaman02-fillmore-hunters-point","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Area codes have always been a \u003cem>thing\u003c/em> in rap. (Just ask \u003ca href=\"https://www.youtube.com/watch?v=sTUU4JqFykM\" target=\"_blank\" rel=\"noopener noreferrer\">Ludacris\u003c/a>.) But in 1991, Bay Area area code representation got a little murky. That’s the year the East Bay ceded its 415 area code to the West Bay and Marin, and adopted 510 as its dialing prefix. For certain rap artists, the effect was utter chaos: \u003ca href=\"https://www.discogs.com/artist/182866-415\" target=\"_blank\" rel=\"noopener noreferrer\">an entire Oakland rap group called 415 disbanded\u003c/a>, and \u003ca href=\"https://www.discogs.com/release/18383851-Various-East-Side-415\" target=\"_blank\" rel=\"noopener noreferrer\">whole swaths of East Bay rap songs referencing the 415\u003c/a> became obsolete.\u003c/p>\n\u003cp>These days, the 415 is a proud marker of San Francisco rap all across the city, from the Fillmore to Hunters Point. And \u003ca href=\"https://www.415day.com/\" target=\"_blank\" rel=\"noopener noreferrer\">415 Day\u003c/a>, the very definition of a call-into-work-sick Friday afternoon party, is a celebration of that culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13895586","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Featured performers include early-1990s Hunters Point legends RBL Posse (“\u003ca href=\"https://www.youtube.com/watch?v=nhRJnuCrAoM\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Give Me No Bammer Weed\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=t5s8cJpsXBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Bird\u003c/a>“) alongside Hunters Point’s new breed, \u003ca href=\"https://www.kqed.org/arts/13828036/talking-with-prezi-the-rapper-pledging-to-do-better-for-hunters-point\" target=\"_blank\" rel=\"noopener noreferrer\">Prezi\u003c/a> (“\u003ca href=\"https://www.youtube.com/watch?v=OLGtumQ1GMk\" target=\"_blank\" rel=\"noopener noreferrer\">Do Better\u003c/a>“). The day also pairs up Fillmore stalwarts Show Banga & Ronski (“\u003ca href=\"https://www.youtube.com/watch?v=g2J_xGPGHjI\" target=\"_blank\" rel=\"noopener noreferrer\">That Filthy\u003c/a>“) with a set from current Fillmore sensation Stunnaman02—whose “\u003ca href=\"https://www.youtube.com/watch?v=5svEkex2YYo\" target=\"_blank\" rel=\"noopener noreferrer\">Big Steppin’\u003c/a>” is so ubiquitous, so long-lasting, that if you haven’t heard it or \u003ca href=\"https://mobile.twitter.com/gmeline/status/1468811474214612995\" target=\"_blank\" rel=\"noopener noreferrer\">done its viral dance\u003c/a>, uh… do you even live in the Bay?\u003c/p>\n\u003cp>For your $10 ticket, also expect food trucks (area fave Señor Sisig among them) and vendors (Cookies, naturally), plus special silkscreening by artists \u003ca href=\"https://www.instagram.com/coldgame650/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Colin Taniguchi\u003c/a> and \u003ca href=\"https://www.instagram.com/kuyageorge/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kuya George\u003c/a>. The event’s producer EMPIRE collaborates with FTC Skateboards \u003ca href=\"https://www.instagram.com/ftc_skateboarding/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">for some planned merch\u003c/a>, and a 45rpm record from EMPIRE specially for the event will be available, with music by Andre Nickatina, RBL Posse and FO15.\u003c/p>\n\u003cp>And it don’t stop: that same night at 7pm, right up the street at KQED’s new event space, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> host Pendarvis Harshaw interviews Rocky Rivera\u003c/a>, the Filipina American MC, author, educator and journalist, before she delivers her own solo set with DJ Roza.\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>Where was Rocky raised, you ask? Of course: the 415.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More details about 415 Day, running Friday, April 15 from 2pm-8pm at District Six in San Francisco, \u003ca href=\"https://www.415day.com/\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. Details about Rocky Rivera’s appearance at the KQED Commons, starting Friday, April 15 at 7pm, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911888/415-day-san-francisco-rap-rbl-posse-stunnaman02-fillmore-hunters-point","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69","arts_70"],"tags":["arts_10278","arts_1806","arts_1297","arts_831","arts_4017","arts_4355","arts_16222","arts_585"],"featImg":"arts_13911890","label":"source_arts_13911888"},"arts_13898169":{"type":"posts","id":"arts_13898169","meta":{"index":"posts_1591205157","site":"arts","id":"13898169","score":null,"sort":[1623102111000]},"guestAuthors":[],"slug":"ronski-and-show-bangas-that-filthy-puts-fillmore-culture-font-and-center","title":"Ronski and Show Banga's 'That Filthy' Puts Fillmore Culture Front and Center","publishDate":1623102111,"format":"standard","headTitle":"Ronski and Show Banga’s ‘That Filthy’ Puts Fillmore Culture Front and Center | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>An early frontrunner for Bay Area anthem of the summer is \u003ca href=\"https://www.instagram.com/mobetta_mochedda/\" target=\"_blank\" rel=\"noopener noreferrer\">Ronski\u003c/a> and \u003ca href=\"https://www.instagram.com/showy4mayor/\" target=\"_blank\" rel=\"noopener noreferrer\">Show Banga’s\u003c/a> “That Filthy.” Produced by Clayton William, the track hits with the simple but lethal combination of heavy bass, a cold kick drum, clear claps and a catchy hook.\u003c/p>\n\u003cp>“Fuck that bag off, and run it up again,” Show Banga says on the chorus, showing both the carefree attitude and the money-making mentality that the City is known for.\u003c/p>\n\u003cp>The video is produced by \u003ca href=\"https://www.instagram.com/melvinas_son/\" target=\"_blank\" rel=\"noopener noreferrer\">Melvina’s Son \u003c/a>and features the Fillmore front and center. In the midst of shots of the neighborhood and the people who make up the community, there are cameos from \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a> and \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. There’s also a couple shots of boxer, cannabis club owner and Ronski’s brother,\u003ca href=\"https://www.instagram.com/p/CPLvd7hnGRLNnthSLAkUVVtESH-1FnLxCxib0M0/\" target=\"_blank\" rel=\"noopener noreferrer\"> Karim Mayfield\u003c/a>. We also see archival images and recent footage of Mayor London Breed, who was raised in the Fillmore.\u003c/p>\n\u003cp>Ronski himself is shown swangin’ tight ones in a blue Corvette. And at the end of the video there’s a clip of JT The Bigga Figga chanting “Fillmoe,” as he’s accompanied by a bunch of children; it was filmed in East Africa, or “\u003ca href=\"https://www.instagram.com/p/CMg-NCisFCd/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmoe Africa\u003c/a>,” as JT calls it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can’t have a true anthem about the Moe without incorporating the the dance that JT, founder of Get Low Recordz, played a major part in popularizing three decades ago, The Get Low.\u003c/p>\n\u003cp>In the video for “That Filthy” there’s a short clip of Ronski teaching the dance to comedian Lil Duval. And all throughout the video there are young folks bending their knees to get into a semi-squat position, and bouncing to the beat like the players of the past.\u003c/p>\n\u003cp>It’s all a sign that even with all of the changes the City has experienced, the culture is alive and well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g2J_xGPGHjI&t=194s\u003c/p>\n\n","blocks":[],"excerpt":"The new summer anthem celebrates rap, past and present, from the San Francisco neighborhood. ","status":"publish","parent":0,"modified":1705008259,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":376},"headData":{"title":"Ronski and Show Banga's 'That Filthy' Puts Fillmore Culture Front and Center | KQED","description":"The new summer anthem celebrates rap, past and present, from the San Francisco neighborhood. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13898169/ronski-and-show-bangas-that-filthy-puts-fillmore-culture-font-and-center","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>An early frontrunner for Bay Area anthem of the summer is \u003ca href=\"https://www.instagram.com/mobetta_mochedda/\" target=\"_blank\" rel=\"noopener noreferrer\">Ronski\u003c/a> and \u003ca href=\"https://www.instagram.com/showy4mayor/\" target=\"_blank\" rel=\"noopener noreferrer\">Show Banga’s\u003c/a> “That Filthy.” Produced by Clayton William, the track hits with the simple but lethal combination of heavy bass, a cold kick drum, clear claps and a catchy hook.\u003c/p>\n\u003cp>“Fuck that bag off, and run it up again,” Show Banga says on the chorus, showing both the carefree attitude and the money-making mentality that the City is known for.\u003c/p>\n\u003cp>The video is produced by \u003ca href=\"https://www.instagram.com/melvinas_son/\" target=\"_blank\" rel=\"noopener noreferrer\">Melvina’s Son \u003c/a>and features the Fillmore front and center. In the midst of shots of the neighborhood and the people who make up the community, there are cameos from \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a> and \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. There’s also a couple shots of boxer, cannabis club owner and Ronski’s brother,\u003ca href=\"https://www.instagram.com/p/CPLvd7hnGRLNnthSLAkUVVtESH-1FnLxCxib0M0/\" target=\"_blank\" rel=\"noopener noreferrer\"> Karim Mayfield\u003c/a>. We also see archival images and recent footage of Mayor London Breed, who was raised in the Fillmore.\u003c/p>\n\u003cp>Ronski himself is shown swangin’ tight ones in a blue Corvette. And at the end of the video there’s a clip of JT The Bigga Figga chanting “Fillmoe,” as he’s accompanied by a bunch of children; it was filmed in East Africa, or “\u003ca href=\"https://www.instagram.com/p/CMg-NCisFCd/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmoe Africa\u003c/a>,” as JT calls it.\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>You can’t have a true anthem about the Moe without incorporating the the dance that JT, founder of Get Low Recordz, played a major part in popularizing three decades ago, The Get Low.\u003c/p>\n\u003cp>In the video for “That Filthy” there’s a short clip of Ronski teaching the dance to comedian Lil Duval. And all throughout the video there are young folks bending their knees to get into a semi-squat position, and bouncing to the beat like the players of the past.\u003c/p>\n\u003cp>It’s all a sign that even with all of the changes the City has experienced, the culture is alive and well.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g2J_xGPGHjI'\n title='//www.youtube.com/embed/g2J_xGPGHjI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13898169/ronski-and-show-bangas-that-filthy-puts-fillmore-culture-font-and-center","authors":["11491"],"categories":["arts_1"],"tags":["arts_10278","arts_1806","arts_13240","arts_5826","arts_1146"],"featImg":"arts_13898402","label":"arts"},"arts_13864714":{"type":"posts","id":"arts_13864714","meta":{"index":"posts_1591205157","site":"arts","id":"13864714","score":null,"sort":[1594980050000]},"guestAuthors":[],"slug":"rightnowish-jarrel-phillips-culture-keeper-of-the-diaspora","title":"From West Africa to the West Coast: One SF Griot's Dance of Resistance","publishDate":1594980050,"format":"audio","headTitle":"From West Africa to the West Coast: One SF Griot’s Dance of Resistance | KQED","labelTerm":{},"content":"\u003cp>“I’m doing a flip off the boat,” said \u003ca href=\"https://www.instagram.com/jarrelmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Jarrel Phillips\u003c/a>, breaking down last year’s performance at \u003cem>\u003ca href=\"https://remembering1619.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Remembering 1619\u003c/a>\u003c/em>, a play directed by Joanna Haigood of Zaccho Dance Theatre, which acknowledges the first shipment of enslaved Africans reaching Virginia 400 years ago.\u003c/p>\n\u003cp>“I’m one of the ones that decides, ‘I’m not having this, yo, I’m out,'” says Jarrel, summarizing his character in the play.\u003c/p>\n\u003cp>His onstage persona is much like Jarrel in real life: acrobatic, resilient and close to his roots. From the stage, Jarrel tells the story of Africans surviving in the Western hemisphere. In real life, Jarrel is part the story of how African Americans have survived on the West Coast of the United States.\u003c/p>\n\u003cp>His grandfather once ran a life insurance business in the heart of the Fillmore, on Fulton Street and Octavia Street; Jarrel and his family still use “the office,” as they call it, to this day.\u003c/p>\n\u003cfigure id=\"attachment_13883453\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg\" alt=\"San Francisco's Jarrel Phillips, dancer, martial arts performer and photographer. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Jarrel Phillips, dancer, martial arts performer and photographer. \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between that office, a few different studios and community centers around the city, Jarrel finds places to practice his work. He’s a multitalented artist who has held \u003ca href=\"https://www.kqed.org/arts/13861969/the-importance-of-recreation-in-jarrel-phillips-how-we-play-exhibition\">photography exhibitions\u003c/a> at the San Francisco Public Library.\u003c/p>\n\u003cp>But our discussion focused on martial arts and modern dance and how he uses capoeira-based dance to tell the story of resilience in the African diaspora, while simultaneously living the latest chapter in the story.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9031314306&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A shorter version of this episode was first broadcast on August 28, 2019. Below is a lightly edited excerpt of my more recent conversation with Jarrel.\u003c/strong>\u003c/p>\n\u003cp>Jarrel: When Covid hit, I just decided I was going to sit down and sit still. Like, we’re always in this rush. And like Capoeira is always going to be there for me, I love capoeira, that’s not going anywhere. So one of my goals was to do a class for Black people. And I’ve been doing it only with my brother and his lady so far, because I want to set the tone, so when people come in there’s a family vibe. I have this idea of how do you respect someone else’s home if you don’t already respect your own? Right and you could tie that to local Black history, since you’re dealing with an art form that has to do with the African diaspora, Black diaspora, but maybe out in Brazil, which is Americas still, but also, to know your own, like exploring your own heritage a little bit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A multitalented dancer, actor, and photographer from the Fillmore, Phillips is a walking example of African American survival in the Bay Area.","status":"publish","parent":0,"modified":1705020416,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":499},"headData":{"title":"From West Africa to the West Coast: One SF Griot's Dance of Resistance | KQED","description":"A multitalented dancer, actor, and photographer from the Fillmore, Phillips is a walking example of African American survival in the Bay Area.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC9031314306.mp3","sticky":false,"audioTrackLength":284,"templateType":"standard","featuredImageType":"standard","path":"/arts/13864714/rightnowish-jarrel-phillips-culture-keeper-of-the-diaspora","audioDuration":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’m doing a flip off the boat,” said \u003ca href=\"https://www.instagram.com/jarrelmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Jarrel Phillips\u003c/a>, breaking down last year’s performance at \u003cem>\u003ca href=\"https://remembering1619.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Remembering 1619\u003c/a>\u003c/em>, a play directed by Joanna Haigood of Zaccho Dance Theatre, which acknowledges the first shipment of enslaved Africans reaching Virginia 400 years ago.\u003c/p>\n\u003cp>“I’m one of the ones that decides, ‘I’m not having this, yo, I’m out,'” says Jarrel, summarizing his character in the play.\u003c/p>\n\u003cp>His onstage persona is much like Jarrel in real life: acrobatic, resilient and close to his roots. From the stage, Jarrel tells the story of Africans surviving in the Western hemisphere. In real life, Jarrel is part the story of how African Americans have survived on the West Coast of the United States.\u003c/p>\n\u003cp>His grandfather once ran a life insurance business in the heart of the Fillmore, on Fulton Street and Octavia Street; Jarrel and his family still use “the office,” as they call it, to this day.\u003c/p>\n\u003cfigure id=\"attachment_13883453\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg\" alt=\"San Francisco's Jarrel Phillips, dancer, martial arts performer and photographer. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Jarrel Phillips, dancer, martial arts performer and photographer. \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between that office, a few different studios and community centers around the city, Jarrel finds places to practice his work. He’s a multitalented artist who has held \u003ca href=\"https://www.kqed.org/arts/13861969/the-importance-of-recreation-in-jarrel-phillips-how-we-play-exhibition\">photography exhibitions\u003c/a> at the San Francisco Public Library.\u003c/p>\n\u003cp>But our discussion focused on martial arts and modern dance and how he uses capoeira-based dance to tell the story of resilience in the African diaspora, while simultaneously living the latest chapter in the story.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9031314306&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A shorter version of this episode was first broadcast on August 28, 2019. Below is a lightly edited excerpt of my more recent conversation with Jarrel.\u003c/strong>\u003c/p>\n\u003cp>Jarrel: When Covid hit, I just decided I was going to sit down and sit still. Like, we’re always in this rush. And like Capoeira is always going to be there for me, I love capoeira, that’s not going anywhere. So one of my goals was to do a class for Black people. And I’ve been doing it only with my brother and his lady so far, because I want to set the tone, so when people come in there’s a family vibe. I have this idea of how do you respect someone else’s home if you don’t already respect your own? Right and you could tie that to local Black history, since you’re dealing with an art form that has to do with the African diaspora, Black diaspora, but maybe out in Brazil, which is Americas still, but also, to know your own, like exploring your own heritage a little bit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864714/rightnowish-jarrel-phillips-culture-keeper-of-the-diaspora","authors":["11491"],"programs":["arts_8720"],"categories":["arts_835","arts_966","arts_21759","arts_967"],"tags":["arts_8384","arts_879","arts_1118","arts_1806","arts_6764","arts_1146"],"featImg":"arts_13883451","label":"source_arts_13864714"},"arts_13882177":{"type":"posts","id":"arts_13882177","meta":{"index":"posts_1591205157","site":"arts","id":"13882177","score":null,"sort":[1592485209000]},"guestAuthors":[],"slug":"how-to-celebrate-juneteenth-in-the-bay-area-at-home-or-outside","title":"How to Celebrate Juneteenth in the Bay Area—at Home or Outside","publishDate":1592485209,"format":"standard","headTitle":"How to Celebrate Juneteenth in the Bay Area—at Home or Outside | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>As the country enters a third week of constant protests over the killing of George Floyd and Breonna Taylor and reckons with its racist structures, this year’s Juneteenth celebrations have seen increased interest.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" rel=\"noopener noreferrer\" target=\"_blank\">annual day observing the end of slavery in the south\u003c/a>, Juneteenth falls each year on June 19. This Friday’s celebrations get underway not only during a national uprising for racial justice, but during a global pandemic. Below, find ways to honor Juneteenth at home with streamed music and art, and view a select list of outdoor celebrations happening around the Bay Area.[aside postid='news_11824859']\u003c/p>\n\u003cp>\u003cem>Additional reporting by Dacia Mitchell.\u003c/em>\u003c/p>\n\u003ch2>Select Online Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>‘Polar Bears, Black Boys & Prairie Fringed Orchids’\u003c/strong>\u003cbr>\nThirty Bay Area theater companies come together for this streamed performance of Vincent Terrell Durham’s play, \u003cem>Polar Bears, Black Boys & Prairie Fringed Orchids\u003c/em>, a timely meditation on police killings of Black people and the Black Lives Matter movement. The play is presented as part of the PlayGround Zoom Fest and the Juneteenth Theatre Justice Project, a national movement spanning theaters across America. Starts at 7pm Pacific time; \u003ca href=\"https://playground-sf.org/juneteenth/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby: Juneteenth and the Blues\u003c/strong>\u003cbr>\nCarrying on the tradition of figures like Charles Mingus and Archie Shepp, who infused jazz with politics, composer and bassist Marcus Shelby has presented jazz programs on Harriet Tubman, the Negro Leagues, the school-to-prison pipeline and more. In an hour-long Zoom presentation of live music, readings and poetry, Shelby delves into Juneteenth’s history and resonance today. Starts at 4pm Pacific time; \u003ca href=\"https://www.moadsf.org/event/talk-performance-juneteenth-and-the-blues-with-marcus-shelby/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg\" alt=\"A still from 'Take This Hammer,' featuring James Baldwin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Take This Hammer,’ featuring James Baldwin. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Take This Hammer’\u003c/strong>\u003cbr>\nFilmed by KQED in 1963, \u003cem>Take This Hammer\u003c/em> follows James Baldwin around San Francisco as he speaks with young Black people and compasres the racial atmosphere in the so-called “progressive” city to the segregated south. The full director’s cut is available to stream; \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>NAACP Black Family Reunion\u003cbr>\nThe NAACP hosts a two-hour special about lives lost and personal stories from the Black community. Participants can submit their story for potential inclusion in advance. Starts at 1pm Pacific time; \u003ca href=\"https://naacp.org/juneteenth/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Music From Other Minds: Juneteenth\u003c/strong>\u003cbr>\nThe Other Minds radio show expands to two hours for a Juneteenth special with the music of Black American composers including Matana Roberts, Moor Mother, Ben LaMar Gay, LOAN (Tongo Eisen-Martin & Chris Peck) and more. Hosted by Liam Herb, the special starts at 10pm Pacific time; \u003ca href=\"https://www.otherminds.org/mfom/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/strong>\u003cbr>\nElizabeth Pepin Silva and Lewis Watts, authors of the book \u003cem>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/em>, discuss the neighborhood’s robust history of Black culture, which urban renewal erased in the 1960s and 1970s. Starts at noon Pacific time; \u003ca href=\"https://bit.ly/HarlemWestJune2020\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Select Outdoor Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.juneteenthspt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth West Coast Port Shutdown\u003c/a> & Caravan to Frank Ogawa Plaza – 10am\u003c/p>\n\u003cp>Second Annual \u003ca href=\"https://www.instagram.com/p/CBWcTrTBwMc/\" target=\"_blank\" rel=\"noopener noreferrer\">Bike 4 Justice Rally\u003c/a> in West Oakland – 12:30pm to 4pm[aside postid='arts_13882225']\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBb2gBLhIYF/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth at the Lake\u003c/a> – Meet at Alameda County Courthouse & March around Lake Merritt – 1pm to Sunset\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/balck-youth-march-people-liberation/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Youth for the People’s Liberation\u003c/a> Protest at deFremery Park – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBe819Oh0J6/\" target=\"_blank\" rel=\"noopener noreferrer\">California Nurses Assoc. Black Lives Matter Protest\u003c/a> – at Kaiser on Broadway – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBVBduHhUUA/\" target=\"_blank\" rel=\"noopener noreferrer\">Lake Merritt Amphitheater Juneteenth Celebration\u003c/a> – 4pm to 7pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/justice-juneteenth-lakemerritt/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Juneteenth \u003c/a>at Lake Merritt – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/initiatives\" target=\"_blank\" rel=\"noopener noreferrer\">Rally for Huey P. Newton Monument\u003c/a> with Fredrika Newton at Alameda County Courthouse – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/funcheap/photos/p.10156909708402504/10156909708402504/?type=3&av=327396872503&eav=AfZ5kPmE0-C1VtLOp9LqpPcbLt1c78rut53h4mwMK1lSdSC28es2LLLFvjaVap3CjuA&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Park Blvd. Juneteenth Protest\u003c/a> at Park Blvd. between I-580 and CA13. – 5-6pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBWu88Yhtmu/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Black Mass’ Juneteenth Spoken Word & Drum Circle\u003c/a> at Lake Merritt Amphitheater – 7pm\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/566725343925258/?event_time_id=566725350591924\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom & Justice\u003c/a> from Ferry Building to City Hall – Noon\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-caravan-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Caravan Protest\u003c/a> – location TBD – 10am–1pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBRiLPwBw5h/\" target=\"_blank\" rel=\"noopener noreferrer\">“Kicking for Freedom”\u003c/a> three-mile skate through SF starting at Ferry Building – 1 to 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2020/6/19/sf-qbar-juneteenth-reunion-black-queer-rally\" rel=\"noopener noreferrer\" target=\"_blank\">Rally Celebrating Black Queer Joy\u003c/a> at QBar in the Castro – 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBf_p41h-jd/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Rally\u003c/a> at City Hall – 1pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-peaceful-yoga-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Protest at Dolores Park\u003c/a> – 4pm to 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/bay-swimmers-in-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Swimmers in Solidarity Floating Protest\u003c/a> at Aquatic Park – 5:30pm\u003c/p>\n\u003cp>\u003cstrong>Antioch\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBe9AOJBkr5/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Peace Walk, Arts & Music\u003c/a> from City Hall to 6th & A St. – 11am to 3pm\u003c/p>\n\u003cp>\u003cstrong>Santa Rosa\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWPC7tBVV_/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Festival \u003c/a>at Pioneer Park – Noon\u003c/p>\n\u003cp>\u003cstrong>Fremont\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/juneteenth-march-for-justice-fremont/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth March for Justice\u003c/a> to City Hall – 1pm\u003c/p>\n\u003cp>\u003cstrong>Santa Clara\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/march-for-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom Day\u003c/a> at Santa Clara University- 3pm to 5pm\u003c/p>\n\u003cp>\u003cstrong>Pittsburg\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWVqluheJt/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Justice\u003c/a> from Buchanan Park to Marina – 3pm\u003c/p>\n\u003cp>\u003cstrong>Livermore\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBcjmTdhXS1/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Protest\u003c/a> at City Hall with speeches and march to Carnegie Park – 4pm\u003c/p>\n\u003cp>\u003cstrong>Palo Alto\u003c/strong>\u003cbr>\n\u003ca href=\"https://act.sixnineteen.com/event/action/86?source=map&akid=\" target=\"_blank\" rel=\"noopener noreferrer\">Defend Black Lives Protest\u003c/a> at King Plaza, City Hall – 5pm\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A roundup of events both online and IRL to celebrate the day marking the end of slavery in the south.","status":"publish","parent":0,"modified":1705020556,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":814},"headData":{"title":"How to Celebrate Juneteenth in the Bay Area—at Home or Outside | KQED","description":"A roundup of events both online and IRL to celebrate the day marking the end of slavery in the south.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13882177/how-to-celebrate-juneteenth-in-the-bay-area-at-home-or-outside","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the country enters a third week of constant protests over the killing of George Floyd and Breonna Taylor and reckons with its racist structures, this year’s Juneteenth celebrations have seen increased interest.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" rel=\"noopener noreferrer\" target=\"_blank\">annual day observing the end of slavery in the south\u003c/a>, Juneteenth falls each year on June 19. This Friday’s celebrations get underway not only during a national uprising for racial justice, but during a global pandemic. Below, find ways to honor Juneteenth at home with streamed music and art, and view a select list of outdoor celebrations happening around the Bay Area.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11824859","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Dacia Mitchell.\u003c/em>\u003c/p>\n\u003ch2>Select Online Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>‘Polar Bears, Black Boys & Prairie Fringed Orchids’\u003c/strong>\u003cbr>\nThirty Bay Area theater companies come together for this streamed performance of Vincent Terrell Durham’s play, \u003cem>Polar Bears, Black Boys & Prairie Fringed Orchids\u003c/em>, a timely meditation on police killings of Black people and the Black Lives Matter movement. The play is presented as part of the PlayGround Zoom Fest and the Juneteenth Theatre Justice Project, a national movement spanning theaters across America. Starts at 7pm Pacific time; \u003ca href=\"https://playground-sf.org/juneteenth/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby: Juneteenth and the Blues\u003c/strong>\u003cbr>\nCarrying on the tradition of figures like Charles Mingus and Archie Shepp, who infused jazz with politics, composer and bassist Marcus Shelby has presented jazz programs on Harriet Tubman, the Negro Leagues, the school-to-prison pipeline and more. In an hour-long Zoom presentation of live music, readings and poetry, Shelby delves into Juneteenth’s history and resonance today. Starts at 4pm Pacific time; \u003ca href=\"https://www.moadsf.org/event/talk-performance-juneteenth-and-the-blues-with-marcus-shelby/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg\" alt=\"A still from 'Take This Hammer,' featuring James Baldwin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Take This Hammer,’ featuring James Baldwin. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Take This Hammer’\u003c/strong>\u003cbr>\nFilmed by KQED in 1963, \u003cem>Take This Hammer\u003c/em> follows James Baldwin around San Francisco as he speaks with young Black people and compasres the racial atmosphere in the so-called “progressive” city to the segregated south. The full director’s cut is available to stream; \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>NAACP Black Family Reunion\u003cbr>\nThe NAACP hosts a two-hour special about lives lost and personal stories from the Black community. Participants can submit their story for potential inclusion in advance. Starts at 1pm Pacific time; \u003ca href=\"https://naacp.org/juneteenth/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Music From Other Minds: Juneteenth\u003c/strong>\u003cbr>\nThe Other Minds radio show expands to two hours for a Juneteenth special with the music of Black American composers including Matana Roberts, Moor Mother, Ben LaMar Gay, LOAN (Tongo Eisen-Martin & Chris Peck) and more. Hosted by Liam Herb, the special starts at 10pm Pacific time; \u003ca href=\"https://www.otherminds.org/mfom/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/strong>\u003cbr>\nElizabeth Pepin Silva and Lewis Watts, authors of the book \u003cem>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/em>, discuss the neighborhood’s robust history of Black culture, which urban renewal erased in the 1960s and 1970s. Starts at noon Pacific time; \u003ca href=\"https://bit.ly/HarlemWestJune2020\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Select Outdoor Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.juneteenthspt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth West Coast Port Shutdown\u003c/a> & Caravan to Frank Ogawa Plaza – 10am\u003c/p>\n\u003cp>Second Annual \u003ca href=\"https://www.instagram.com/p/CBWcTrTBwMc/\" target=\"_blank\" rel=\"noopener noreferrer\">Bike 4 Justice Rally\u003c/a> in West Oakland – 12:30pm to 4pm\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13882225","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBb2gBLhIYF/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth at the Lake\u003c/a> – Meet at Alameda County Courthouse & March around Lake Merritt – 1pm to Sunset\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/balck-youth-march-people-liberation/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Youth for the People’s Liberation\u003c/a> Protest at deFremery Park – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBe819Oh0J6/\" target=\"_blank\" rel=\"noopener noreferrer\">California Nurses Assoc. Black Lives Matter Protest\u003c/a> – at Kaiser on Broadway – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBVBduHhUUA/\" target=\"_blank\" rel=\"noopener noreferrer\">Lake Merritt Amphitheater Juneteenth Celebration\u003c/a> – 4pm to 7pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/justice-juneteenth-lakemerritt/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Juneteenth \u003c/a>at Lake Merritt – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/initiatives\" target=\"_blank\" rel=\"noopener noreferrer\">Rally for Huey P. Newton Monument\u003c/a> with Fredrika Newton at Alameda County Courthouse – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/funcheap/photos/p.10156909708402504/10156909708402504/?type=3&av=327396872503&eav=AfZ5kPmE0-C1VtLOp9LqpPcbLt1c78rut53h4mwMK1lSdSC28es2LLLFvjaVap3CjuA&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Park Blvd. Juneteenth Protest\u003c/a> at Park Blvd. between I-580 and CA13. – 5-6pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBWu88Yhtmu/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Black Mass’ Juneteenth Spoken Word & Drum Circle\u003c/a> at Lake Merritt Amphitheater – 7pm\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/566725343925258/?event_time_id=566725350591924\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom & Justice\u003c/a> from Ferry Building to City Hall – Noon\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-caravan-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Caravan Protest\u003c/a> – location TBD – 10am–1pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBRiLPwBw5h/\" target=\"_blank\" rel=\"noopener noreferrer\">“Kicking for Freedom”\u003c/a> three-mile skate through SF starting at Ferry Building – 1 to 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2020/6/19/sf-qbar-juneteenth-reunion-black-queer-rally\" rel=\"noopener noreferrer\" target=\"_blank\">Rally Celebrating Black Queer Joy\u003c/a> at QBar in the Castro – 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBf_p41h-jd/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Rally\u003c/a> at City Hall – 1pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-peaceful-yoga-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Protest at Dolores Park\u003c/a> – 4pm to 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/bay-swimmers-in-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Swimmers in Solidarity Floating Protest\u003c/a> at Aquatic Park – 5:30pm\u003c/p>\n\u003cp>\u003cstrong>Antioch\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBe9AOJBkr5/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Peace Walk, Arts & Music\u003c/a> from City Hall to 6th & A St. – 11am to 3pm\u003c/p>\n\u003cp>\u003cstrong>Santa Rosa\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWPC7tBVV_/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Festival \u003c/a>at Pioneer Park – Noon\u003c/p>\n\u003cp>\u003cstrong>Fremont\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/juneteenth-march-for-justice-fremont/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth March for Justice\u003c/a> to City Hall – 1pm\u003c/p>\n\u003cp>\u003cstrong>Santa Clara\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/march-for-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom Day\u003c/a> at Santa Clara University- 3pm to 5pm\u003c/p>\n\u003cp>\u003cstrong>Pittsburg\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWVqluheJt/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Justice\u003c/a> from Buchanan Park to Marina – 3pm\u003c/p>\n\u003cp>\u003cstrong>Livermore\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBcjmTdhXS1/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Protest\u003c/a> at City Hall with speeches and march to Carnegie Park – 4pm\u003c/p>\n\u003cp>\u003cstrong>Palo Alto\u003c/strong>\u003cbr>\n\u003ca href=\"https://act.sixnineteen.com/event/action/86?source=map&akid=\" target=\"_blank\" rel=\"noopener noreferrer\">Defend Black Lives Protest\u003c/a> at King Plaza, City Hall – 5pm\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13882177/how-to-celebrate-juneteenth-in-the-bay-area-at-home-or-outside","authors":["185"],"categories":["arts_1","arts_835","arts_7862","arts_69","arts_967"],"tags":["arts_10278","arts_1806","arts_3087","arts_7465","arts_3584","arts_1692","arts_7723"],"featImg":"arts_13882180","label":"arts"},"arts_13877054":{"type":"posts","id":"arts_13877054","meta":{"index":"posts_1591205157","site":"arts","id":"13877054","score":null,"sort":[1584698447000]},"guestAuthors":[],"slug":"conjuring-the-ancestors-with-art","title":"Conjuring Our Ancestral Spirits Through Art","publishDate":1584698447,"format":"audio","headTitle":"Conjuring Our Ancestral Spirits Through Art | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>Sydney Cain uses her art to connect with her community, as well her ancestors.\u003c/p>\n\u003cp>By using a process of reduction, slowly moving her hands in a circular motion to move dust-sized pieces of elements, such as cobalt and graphite, around the surface of a canvas, she reveals lines, shapes and figures that tell a story of what used to be… and maybe still is in another realm.\u003c/p>\n\u003cp>Sydney, who also goes by \u003ca href=\"https://www.instagram.com/sagestargate/\">Sage Stargate\u003c/a>, is a third generation San Franciscan. She grew up in the Fillmore, and remembers it from before gentrification when it was a largely African American community.\u003c/p>\n\u003cp>https://www.instagram.com/p/BqdvclFBdp3/\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The images that appear in her artwork often harken back to that time, or to even earlier eras in her family’s history, like the Jim Crow South.\u003c/p>\n\u003cp>Sydney, who is one of the Museum of African Diaspora’s \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-sydney-cain-refutations/\">Emerging Artists\u003c/a> this year, says her work has revealed images that look like ancestors she’s never met, but older family members see the figures and instantly recognize them. It’s almost like they’re still here– both the people, and the community.\u003c/p>\n\u003cp>Many would call Sydney’s work “art,” but it toes the line of what one might call a spiritual practice.\u003c/p>\n\u003cp>https://www.instagram.com/p/B7WyxGcBfjO/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Artist Sydney Cain uses art to reveal her connections to ancestors and community that are no longer here... or maybe they are, just in another realm.","status":"publish","parent":0,"modified":1705021046,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":257},"headData":{"title":"Conjuring Our Ancestral Spirits Through Art | KQED","description":"Artist Sydney Cain uses art to reveal her connections to ancestors and community that are no longer here... or maybe they are, just in another realm.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio/rightnowish/2020/03/RightnowishEp22Sage.mp3","sticky":false,"path":"/arts/13877054/conjuring-the-ancestors-with-art","audioDuration":665000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sydney Cain uses her art to connect with her community, as well her ancestors.\u003c/p>\n\u003cp>By using a process of reduction, slowly moving her hands in a circular motion to move dust-sized pieces of elements, such as cobalt and graphite, around the surface of a canvas, she reveals lines, shapes and figures that tell a story of what used to be… and maybe still is in another realm.\u003c/p>\n\u003cp>Sydney, who also goes by \u003ca href=\"https://www.instagram.com/sagestargate/\">Sage Stargate\u003c/a>, is a third generation San Franciscan. She grew up in the Fillmore, and remembers it from before gentrification when it was a largely African American community.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BqdvclFBdp3"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp> \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>The images that appear in her artwork often harken back to that time, or to even earlier eras in her family’s history, like the Jim Crow South.\u003c/p>\n\u003cp>Sydney, who is one of the Museum of African Diaspora’s \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-sydney-cain-refutations/\">Emerging Artists\u003c/a> this year, says her work has revealed images that look like ancestors she’s never met, but older family members see the figures and instantly recognize them. It’s almost like they’re still here– both the people, and the community.\u003c/p>\n\u003cp>Many would call Sydney’s work “art,” but it toes the line of what one might call a spiritual practice.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"B7WyxGcBfjO"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13877054/conjuring-the-ancestors-with-art","authors":["11491"],"programs":["arts_8720"],"categories":["arts_1","arts_835","arts_7862","arts_21759"],"tags":["arts_2438","arts_1118","arts_1806","arts_4017","arts_1987","arts_6764","arts_10381","arts_1146","arts_901"],"featImg":"arts_13877121","label":"arts_8720"},"arts_13874853":{"type":"posts","id":"arts_13874853","meta":{"index":"posts_1591205157","site":"arts","id":"13874853","score":null,"sort":[1582916450000]},"guestAuthors":[],"slug":"the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore","title":"The Queen of the 'Harlem of the West' Brought Glamour and Stars to the Fillmore","publishDate":1582916450,"format":"standard","headTitle":"The Queen of the ‘Harlem of the West’ Brought Glamour and Stars to the Fillmore | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>She was considered the Queen of the Fillmore, back when the neighborhood was still nicknamed the “Harlem of the West.” She was one of the \u003ca href=\"http://beyondchron.org/heard-fillmore-icon-leola-king-passes/\" target=\"_blank\" rel=\"noopener noreferrer\">first women of color\u003c/a> to ever own and run a Bay Area nightclub. And when the San Francisco Redevelopment Agency came for her crown, Leola King fought back, over and over again.\u003c/p>\n\u003cp>King arrived in San Francisco from Los Angeles in 1946, at the age of 27. She would call the Fillmore home for the next 64 years. Her most famous venture, the Blue Mirror Cocktail Lounge—famous for hosting jazz greats like Louis Armstrong and Dinah Washington—came only after King had brought people from all over the city to the Fillmore via her barbecue pit.\u003c/p>\n\u003cp>Oklahoma King’s was named for her birth state, lovingly constructed at 1601 Geary out of a log cabin, and featured a smoke pit that was visible to outside foot traffic. The \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">meat on King’s menu\u003c/a>, including smoked buffalo, deer and quail, was so popular that she often worked around the clock, sometimes opening at 10am and not closing until 4am the next day.\u003c/p>\n\u003cp>“I was busy all day, all night, lines outside,” she told the \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oral History Archives Project\u003c/a> in 2007. “On Cathedral Hill, coming down the hill, I had a tall, about a 50-foot smoke stack that put the aroma in the air that was just terrific, and people would drive around trying to find the place where this beautiful smell was coming from.”\u003c/p>\n\u003cp>At the end of 1947, when the City Planning Commission submitted a \u003ca href=\"https://smartgrowth.org/how-urban-renewal-destroyed-the-fillmore-in-order-to-save-it/\" target=\"_blank\" rel=\"noopener noreferrer\">$52 million proposal\u003c/a> for rebuilding a 36-block zone enclosed by Van Ness, Webster, McAllister and Geary, King began to be regularly approached by the San Francisco Redevelopment Agency. By her own estimation, King told them the restaurant wasn’t for sale “three or four times.” One morning when she arrived to open up, she was greeted by the sight of a bulldozer—and an empty space where Oklahoma King’s used to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They just come in and bulldoze it to the ground,” she recalled. “Took all my equipment, stuff that I’d paid for, and all of my foods and everything. I don’t know what happened to anything. When I go there, the lot is clear; there’s nothing on it. So that made me have to go to the hospital. I just was so upset.” King was later \u003ca href=\"https://www.harlemofthewestsf.com/fillmore-people/bios-interviews/leola-king/\" target=\"_blank\" rel=\"noopener noreferrer\">reimbursed\u003c/a> what she’d paid for the land, but not for the structure, equipment or business—in all, a fraction of what Oklahoma King’s was actually worth. [aside postid='pop_110017']\u003c/p>\n\u003cp>After the initial shock had subsided, King’s unbreakable tenacity drove her to open the Blue Mirror in 1953. “It was fantastic, a beautiful club,” \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>, “and it was hot, hot, hot.” The club, at 935 Fillmore Street, was smaller than the other popular neighborhood venues at the time—like \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Sullivan’s Fillmore Ballroom\u003c/a>—but attracted the same level of talent. Lena Horne, Ray Charles, Duke Ellington, Count Basie and Cab Calloway were just a few musicians that passed through, and she counted Josephine Baker, Nat “King” Cole, Elizabeth Taylor and boxing legend Sugar Ray Robinson as friends.\u003c/p>\n\u003cp>Bobbie Webb, a saxophonist who performed there with the likes of B.B. King and T-Bone Walker, \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2007\u003c/a> that it wasn’t just the luxurious decor and excellent music that attracted people to the Blue Mirror—it was King herself. “She didn’t only have a personality, she was a beautiful lady,” he reminisced. “All she had to do was stand there.”\u003c/p>\n\u003cp>After almost a decade of running one of the hottest clubs in town, \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">King later claimed\u003c/a> she was warned by neighborhood police that the Redevelopment Agency was using unscrupulous means to acquire buildings. According to her, one day a man and a child arrived at the club, asking if the youngster could use the bathroom. After the bouncer allowed them in, the man bought an alcoholic drink and handed it to the child. “Well, we didn’t even know the kid was in the place,” King recalled. “So that’s how they took my license. They came in and padlocked my door and completely put me out of business.” [aside postid='pop_108474']\u003c/p>\n\u003cp>Against the odds, King bounced back yet again, opening the Bird Cage in 1964. The tavern, decked out in stained glass and bright colors, was open between the hours of 10am and 10pm at 1505 Fillmore Street. Like the Blue Mirror, the venue found popularity quickly, thanks in no small part to its lunch counter, famous for King’s fried chicken and fish.\u003c/p>\n\u003cp>Though King selected the location in the hope that it was deep enough in the neighborhood to remain untouched by redevelopment, after a decade of success, once again the agency bought her venue’s building and, in 1974, evicted all tenants. King refused to go quietly this time, having to be forcibly removed by the sheriff. She spent the next quarter century \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">fighting\u003c/a> the Redevelopment Agency over relocation terms.\u003c/p>\n\u003cp>Leola King eventually declared bankruptcy in the late ’90s, lost her mansion at 711 Scott St., and never quite managed to complete the opening of a new bar named Goldie’s. But her grace and poise in the face of relentless losses, her indomitable spirit, and the joy she brought to the neighborhood are the things people remember most about her.\u003c/p>\n\u003cp>As Lance Burton, founder of \u003ca href=\"https://planetfillmore.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet Fillmore Communications\u003c/a>, who grew up in the Fillmore and remembers King in her heyday \u003ca href=\"https://sfbayview.com/2015/02/legendary-queen-of-fillmore-leola-king-leaves-proud-legacy-of-struggle-against-redevelopment/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote after her death\u003c/a> in 2015: “Mrs. King was like a big movie star to many of us, a star who brought some very bright moments to our community—maybe the most golden period of years ever to have been seen in San Francisco by black folks before or since… Mrs. King gave our people a chance to dress up and shine in a Sunday evening of glory.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In the Fillmore, Leola King was one of the first women of color to own and run a Bay Area nightclub.","status":"publish","parent":0,"modified":1705091835,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1064},"headData":{"title":"The Queen of the 'Harlem of the West' Brought Glamour and Stars to the Fillmore | KQED","description":"In the Fillmore, Leola King was one of the first women of color to own and run a Bay Area nightclub.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/a768e15f-7da2-456e-b0fd-ac990132c3d3/audio.mp3 ","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13874853/the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>She was considered the Queen of the Fillmore, back when the neighborhood was still nicknamed the “Harlem of the West.” She was one of the \u003ca href=\"http://beyondchron.org/heard-fillmore-icon-leola-king-passes/\" target=\"_blank\" rel=\"noopener noreferrer\">first women of color\u003c/a> to ever own and run a Bay Area nightclub. And when the San Francisco Redevelopment Agency came for her crown, Leola King fought back, over and over again.\u003c/p>\n\u003cp>King arrived in San Francisco from Los Angeles in 1946, at the age of 27. She would call the Fillmore home for the next 64 years. Her most famous venture, the Blue Mirror Cocktail Lounge—famous for hosting jazz greats like Louis Armstrong and Dinah Washington—came only after King had brought people from all over the city to the Fillmore via her barbecue pit.\u003c/p>\n\u003cp>Oklahoma King’s was named for her birth state, lovingly constructed at 1601 Geary out of a log cabin, and featured a smoke pit that was visible to outside foot traffic. The \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">meat on King’s menu\u003c/a>, including smoked buffalo, deer and quail, was so popular that she often worked around the clock, sometimes opening at 10am and not closing until 4am the next day.\u003c/p>\n\u003cp>“I was busy all day, all night, lines outside,” she told the \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oral History Archives Project\u003c/a> in 2007. “On Cathedral Hill, coming down the hill, I had a tall, about a 50-foot smoke stack that put the aroma in the air that was just terrific, and people would drive around trying to find the place where this beautiful smell was coming from.”\u003c/p>\n\u003cp>At the end of 1947, when the City Planning Commission submitted a \u003ca href=\"https://smartgrowth.org/how-urban-renewal-destroyed-the-fillmore-in-order-to-save-it/\" target=\"_blank\" rel=\"noopener noreferrer\">$52 million proposal\u003c/a> for rebuilding a 36-block zone enclosed by Van Ness, Webster, McAllister and Geary, King began to be regularly approached by the San Francisco Redevelopment Agency. By her own estimation, King told them the restaurant wasn’t for sale “three or four times.” One morning when she arrived to open up, she was greeted by the sight of a bulldozer—and an empty space where Oklahoma King’s used to be.\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>“They just come in and bulldoze it to the ground,” she recalled. “Took all my equipment, stuff that I’d paid for, and all of my foods and everything. I don’t know what happened to anything. When I go there, the lot is clear; there’s nothing on it. So that made me have to go to the hospital. I just was so upset.” King was later \u003ca href=\"https://www.harlemofthewestsf.com/fillmore-people/bios-interviews/leola-king/\" target=\"_blank\" rel=\"noopener noreferrer\">reimbursed\u003c/a> what she’d paid for the land, but not for the structure, equipment or business—in all, a fraction of what Oklahoma King’s was actually worth. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_110017","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the initial shock had subsided, King’s unbreakable tenacity drove her to open the Blue Mirror in 1953. “It was fantastic, a beautiful club,” \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>, “and it was hot, hot, hot.” The club, at 935 Fillmore Street, was smaller than the other popular neighborhood venues at the time—like \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Sullivan’s Fillmore Ballroom\u003c/a>—but attracted the same level of talent. Lena Horne, Ray Charles, Duke Ellington, Count Basie and Cab Calloway were just a few musicians that passed through, and she counted Josephine Baker, Nat “King” Cole, Elizabeth Taylor and boxing legend Sugar Ray Robinson as friends.\u003c/p>\n\u003cp>Bobbie Webb, a saxophonist who performed there with the likes of B.B. King and T-Bone Walker, \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2007\u003c/a> that it wasn’t just the luxurious decor and excellent music that attracted people to the Blue Mirror—it was King herself. “She didn’t only have a personality, she was a beautiful lady,” he reminisced. “All she had to do was stand there.”\u003c/p>\n\u003cp>After almost a decade of running one of the hottest clubs in town, \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">King later claimed\u003c/a> she was warned by neighborhood police that the Redevelopment Agency was using unscrupulous means to acquire buildings. According to her, one day a man and a child arrived at the club, asking if the youngster could use the bathroom. After the bouncer allowed them in, the man bought an alcoholic drink and handed it to the child. “Well, we didn’t even know the kid was in the place,” King recalled. “So that’s how they took my license. They came in and padlocked my door and completely put me out of business.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_108474","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Against the odds, King bounced back yet again, opening the Bird Cage in 1964. The tavern, decked out in stained glass and bright colors, was open between the hours of 10am and 10pm at 1505 Fillmore Street. Like the Blue Mirror, the venue found popularity quickly, thanks in no small part to its lunch counter, famous for King’s fried chicken and fish.\u003c/p>\n\u003cp>Though King selected the location in the hope that it was deep enough in the neighborhood to remain untouched by redevelopment, after a decade of success, once again the agency bought her venue’s building and, in 1974, evicted all tenants. King refused to go quietly this time, having to be forcibly removed by the sheriff. She spent the next quarter century \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">fighting\u003c/a> the Redevelopment Agency over relocation terms.\u003c/p>\n\u003cp>Leola King eventually declared bankruptcy in the late ’90s, lost her mansion at 711 Scott St., and never quite managed to complete the opening of a new bar named Goldie’s. But her grace and poise in the face of relentless losses, her indomitable spirit, and the joy she brought to the neighborhood are the things people remember most about her.\u003c/p>\n\u003cp>As Lance Burton, founder of \u003ca href=\"https://planetfillmore.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet Fillmore Communications\u003c/a>, who grew up in the Fillmore and remembers King in her heyday \u003ca href=\"https://sfbayview.com/2015/02/legendary-queen-of-fillmore-leola-king-leaves-proud-legacy-of-struggle-against-redevelopment/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote after her death\u003c/a> in 2015: “Mrs. King was like a big movie star to many of us, a star who brought some very bright moments to our community—maybe the most golden period of years ever to have been seen in San Francisco by black folks before or since… Mrs. King gave our people a chance to dress up and shine in a Sunday evening of glory.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874853/the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore","authors":["11242"],"programs":["arts_8978"],"categories":["arts_835","arts_7862"],"tags":["arts_1806","arts_21841","arts_2996"],"featImg":"arts_13875531","label":"arts_8978"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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You ask the questions. You decide what Bay Curious investigates. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. 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