Great American Music HallGreat American Music Hall
Jazz Madman John Zorn Is Playing a 15-Show Residency in San Francisco
9 Bay Area Cocktails to Drink This Summer
The Subhumans Barrel Into San Francisco at Just the Right Time
The Burlesque Pioneer Who Fought Censorship and Multiple Arrests
Slim's, Storied SF Nightclub, Closes Permanently After 30 Years
Julia Holter Brings Stunning Chamber-Pop to the Great American Music Hall
Slim’s, Great American Music Hall Workers Axed as Goldenvoice Expands
In 2018, Corporate Monotony Seized San Francisco Music Venues
A Selfie at Your Polling Place is Your Ticket to Shows at The Chapel and GAMH
Sponsored
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And death metal. And easy listening, and just about everything else under the sun. His music comprises a prolific canon that he characterizes as “Radical Jewish Culture.”\u003c/p>\n\u003cp>He’s also known for rarely straying from his home base of New York. But when does leave New York, he brings half of New York with him.\u003c/p>\n\u003cp>That’s what it might seem like, at least, when Zorn settles in this week for a massive, career-spanning residency at the Great American Music Hall in San Francisco. Across 15 shows over five days, Zorn collaborates with daring Manhattan musicians like Laurie Anderson and Ikue Mori, and jazz luminaries like Bill Frisell and John Medeski.\u003c/p>\n\u003cfigure id=\"attachment_13933832\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/JohnZorn.conducting.2011-scaled.jpg\" alt=\"John Zorn conducts music from his 'Book of Angels' at New York's Lincoln Center in 2011. New York, March 30, 2011.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">John Zorn conducts music from his ‘Book of Angels’ at New York’s Lincoln Center in 2011. New York, March 30, 2011. \u003ccite>(Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some West Coast artists join him on these dates as well. In one Sunday matinee show, Zorn presents his “game” piece of genre and improvisation, \u003ca href=\"https://www.youtube.com/watch?v=yp-oZbmsQVw\">Cobra\u003c/a>, utilizing hand signals, signs and other cues. That ensemble alone utilizes 14 participants, including Slayer drummer Dave Lombardo, experimental guitarist Fred Frith, Faith No More vocalist Mike Patton and most of the other members of experimental thrash-funk ensemble \u003ca href=\"https://www.kqed.org/arts/13864072/ticket-alert-mr-bungle-at-the-warfield-in-san-francisco\">Mr. Bungle\u003c/a>.\u003c/p>\n\u003cp>Sitting in with several other groups, including the stunning \u003ca href=\"https://youtu.be/1Wxqg4AcRrc?si=6aLog0Ws9EWedvHK&t=733\">Electric Masada\u003c/a> band, is the Santa Rosa-raised guitarist \u003ca href=\"https://www.kqed.org/arts/10314475/ugly-sounds-beautiful-sounds-and-everything-in-between-a-talk-with-guitarist-julian-lage\">Julian Lage\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each time John Zorn does a rare residency in the Bay Area, it’s an \u003cem>event\u003c/em>. It’s also unlike anything you’ve ever seen. The \u003ca href=\"https://bohemian.com/live-review-john-zorns-masada-at-yoshis/\">last time I saw him here\u003c/a>, 13 years ago, I walked directly to the box office afterward and bought a ticket to \u003ca href=\"https://bohemian.com/live-review-john-zorn-electric-masada-at-yoshis/\">see him again\u003c/a> the following night. Don’t say you weren’t warned.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘John Zorn at 70′ runs Aug. 30–Sept. 3 at the Great American Music Hall in San Francisco. (A solo organ performance by Zorn on Sept. 2 takes place at Grace Cathedral.) \u003ca href=\"https://gamh.com/shows-zorn70/\">Tickets and information here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The fiercely original New York saxophonist and composer brings a cast of thousands to the Great American Music Hall over five days. ","status":"publish","parent":0,"modified":1705005102,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":358},"headData":{"title":"Jazz Madman John Zorn Is Playing a 15-Show Residency in San Francisco | KQED","description":"The fiercely original New York saxophonist and composer brings a cast of thousands to the Great American Music Hall over five days. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Jazz Madman John Zorn Is Playing a 15-Show Residency in San Francisco","datePublished":"2023-08-24T19:31:33.000Z","dateModified":"2024-01-11T20:31:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13933803/john-zorn-at-70-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The saxophonist and composer John Zorn is known for merging Jewish music traditions with avant-garde jazz. And death metal. And easy listening, and just about everything else under the sun. His music comprises a prolific canon that he characterizes as “Radical Jewish Culture.”\u003c/p>\n\u003cp>He’s also known for rarely straying from his home base of New York. But when does leave New York, he brings half of New York with him.\u003c/p>\n\u003cp>That’s what it might seem like, at least, when Zorn settles in this week for a massive, career-spanning residency at the Great American Music Hall in San Francisco. Across 15 shows over five days, Zorn collaborates with daring Manhattan musicians like Laurie Anderson and Ikue Mori, and jazz luminaries like Bill Frisell and John Medeski.\u003c/p>\n\u003cfigure id=\"attachment_13933832\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/JohnZorn.conducting.2011-scaled.jpg\" alt=\"John Zorn conducts music from his 'Book of Angels' at New York's Lincoln Center in 2011. New York, March 30, 2011.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/JohnZorn.conducting.2011-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">John Zorn conducts music from his ‘Book of Angels’ at New York’s Lincoln Center in 2011. New York, March 30, 2011. \u003ccite>(Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some West Coast artists join him on these dates as well. In one Sunday matinee show, Zorn presents his “game” piece of genre and improvisation, \u003ca href=\"https://www.youtube.com/watch?v=yp-oZbmsQVw\">Cobra\u003c/a>, utilizing hand signals, signs and other cues. That ensemble alone utilizes 14 participants, including Slayer drummer Dave Lombardo, experimental guitarist Fred Frith, Faith No More vocalist Mike Patton and most of the other members of experimental thrash-funk ensemble \u003ca href=\"https://www.kqed.org/arts/13864072/ticket-alert-mr-bungle-at-the-warfield-in-san-francisco\">Mr. Bungle\u003c/a>.\u003c/p>\n\u003cp>Sitting in with several other groups, including the stunning \u003ca href=\"https://youtu.be/1Wxqg4AcRrc?si=6aLog0Ws9EWedvHK&t=733\">Electric Masada\u003c/a> band, is the Santa Rosa-raised guitarist \u003ca href=\"https://www.kqed.org/arts/10314475/ugly-sounds-beautiful-sounds-and-everything-in-between-a-talk-with-guitarist-julian-lage\">Julian Lage\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\u003cp>Each time John Zorn does a rare residency in the Bay Area, it’s an \u003cem>event\u003c/em>. It’s also unlike anything you’ve ever seen. The \u003ca href=\"https://bohemian.com/live-review-john-zorns-masada-at-yoshis/\">last time I saw him here\u003c/a>, 13 years ago, I walked directly to the box office afterward and bought a ticket to \u003ca href=\"https://bohemian.com/live-review-john-zorn-electric-masada-at-yoshis/\">see him again\u003c/a> the following night. Don’t say you weren’t warned.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘John Zorn at 70′ runs Aug. 30–Sept. 3 at the Great American Music Hall in San Francisco. (A solo organ performance by Zorn on Sept. 2 takes place at Grace Cathedral.) \u003ca href=\"https://gamh.com/shows-zorn70/\">Tickets and information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933803/john-zorn-at-70-san-francisco","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_2187","arts_1146","arts_585"],"featImg":"arts_13933834","label":"arts_140"},"arts_13929612":{"type":"posts","id":"arts_13929612","meta":{"index":"posts_1591205157","site":"arts","id":"13929612","score":null,"sort":[1685035802000]},"guestAuthors":[],"slug":"bay-area-summer-cocktails-summer-guide-2023","title":"9 Bay Area Cocktails to Drink This Summer","publishDate":1685035802,"format":"standard","headTitle":"9 Bay Area Cocktails to Drink This Summer | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Let’s be honest: Bay Area summers are hella weird. With inconsistent days that get interrupted by strong winds, fog and poorly-timed storms, it’s not quite the palm tree–saturated, sunglasses vibe that an uninitiated visitor might be craving. Still, it \u003ci>does \u003c/i>warm up around here (relatively speaking), and if you’re lucky, your boss might let you hop off the clock early so you can inhale more fresh oxygen than usual — or, better yet, unwind with a decadent cocktail in hand.\u003c/p>\n\u003cp>Whether it’s a non-alcoholic concoction with top-shelf botanical extracts sipped on a ritzy rooftop or a boozy behemoth poured with a heavy hand at a red-light dive bar, Bay Area bartenders will be serving up enough drinks this summer to keep Alcatraz Island afloat. Trust me, I did the science, it checks out.\u003c/p>\n\u003cp>Here’s where KQED employees will be sipping their favorite “warm-weather” cocktails around the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13929628\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929628\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BackPorch_Bardo-scaled.jpg\" alt=\"A bourbon cocktail served in a glass tumbler, garnished with a lemon slice and a sprig of mint.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The drink reminds the author of a hot Louisiana summer. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Back Porch at Bardo Lounge & Supper Club\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Bourbon, house black tea syrup, mint, Angostura, lemon peel ($14)\u003c/i>\u003cbr>\n\u003ci>3343 Lakeshore Ave., Oakland\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This slickly decorated, mid-century themed bar and restaurant tucked a few blocks away from Grand Lake Theater is a cocktail lover’s paradise. \u003ca href=\"https://www.instagram.com/bardo_oakland/\">Bardo’s\u003c/a> zine-length drink menu is sophisticated and diverse (including an impressive range of mocktails), but my personal favorite is the Back Porch. The name alone reminds me of a hot Louisiana summer, and the mix of bourbon and black tea syrup, with touches of fresh mint and lemon, give it that homemade sweet tea aroma you can’t ever go wrong with. \u003ci>—A.C.\u003c/i>\u003c/p>\n\u003cp>https://www.instagram.com/p/CblN8bbvQEu/?hl=en\u003c/p>\n\u003ch2>\u003cb>‘Surfer on Acid’ at White Cap\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Coconut coffee rum, amaro, sherry wine, falernum, pineapple ($14)\u003c/i>\u003c/p>\n\u003cp>\u003ci>3608 Taraval St., San Francisco\u003c/i>\u003c/p>\n\u003cp>Summer is a tough season in San Francisco. And it’s especially tough in the Outer Sunset. In the two summers I lived out in the Avenues, the cold fog could get so thick that I wasn’t able to see any sand on the beach, mere blocks away. One way to cope was by building fires to stay warm. The other? To bundle up in a down jacket and grab a cocktail at \u003ca href=\"https://whitecapsf.com/\">White Cap\u003c/a>. The “Surfer on Acid” is a classic — tropical, boozy — and while you’re drinking it, you can pretend you’re somewhere where it’s actually hot in May, June or July. \u003ci>—Bianca Taylor\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13929630\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Saturn_LittleHillLounge.jpg\" alt=\"Two mint-garnished tropical cocktails, lit from behind by candle light.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Saturn is one of the refreshing tiki drinks you can find at El Cerrito’s Little Hill Lounge. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Saturn at Little Hill Lounge\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Gin, passion fruit, orgeat, falernum, lemon juice ($12)\u003c/i>\u003cbr>\n\u003ci>10753 San Pablo Ave., El Cerrito\u003c/i>\u003c/p>\n\u003cp>Here’s a quick lesson for my non-Spanish speakers: “cerro” translates as “hill” and “El Cerrito” means “the little hill.” So the next time you’re on Highway 80, look for the tiny hillside along the San Pablo Bay shoreline and tell your Uber driver to hop off the first exit. At \u003ca href=\"https://littlehillelcerrito.com/\">Little Hill Lounge\u003c/a>, you’ll encounter tiki drinks inside a retro ’70s red-interior room with a gorgeous oval-shaped bar in the middle. There might even be a neighborhood regular belting jukebox favorites to himself. The Saturn is my beverage of choice here. It’s smooth, satiating, zesty and simple. \u003ci>—A.C.\u003c/i>\u003c/p>\n\u003cp>https://www.instagram.com/p/Coz_ZA6paN3/\u003c/p>\n\u003ch2>\u003cb>Chamborlada at Forbidden Island\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Rum, Chambord, pineapple, coconut ($16)\u003c/i>\u003cbr>\n\u003ci>1304 Lincoln Ave., Alameda\u003c/i>\u003c/p>\n\u003cp>Full disclosure: I’m one of those maniacs whose favorite La Croix flavor is coconut. I want coconut everything. Coconut cake, coconut sake (it’s a real thing!), coconut protein bars — just give me all of the coconut. (Don’t tell me it tastes like sun block, I’ve heard it all before.) Because of that, \u003ca href=\"https://www.forbiddenislandalameda.com/\">Forbidden Island\u003c/a> is a cocktail paradise for me. There are ample drink options for coconut haters in this fantastically kitsch little joint, but there is also an entire section of the menu dedicated to “Coconutty Creations.” My favorite is the Chamborlada, a drink that combines light tropical flavors with a heavy hit of alcohol. It’s the perfect cocktail to transport you to a tropical island, even as the fog rolls over the Bay outside. —\u003ci>Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13929632\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/umami-mart-whisky-highball.jpg\" alt=\"A whisky highball in a tall glass, garnished with a slice of lemon peel.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Japanese whisky highball at Umami Mart is simple, elegant and extremely refreshing. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Whisky Highball at Umami Mart\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Japanese whisky, soda, lemon ($12)\u003c/i>\u003cbr>\n\u003ci>4027 Broadway, Oakland\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13928804,arts_13929494']\u003c/span>As someone who goes for low-alcohol carbonated drinks almost exclusively (yes, I’m a lightweight), I love a good Japanese whisky highball. My drink of the summer this year is the version they’re pouring at \u003ca href=\"https://www.instagram.com/umamimart/?hl=en\">Umami Mart\u003c/a>, which you might know for its design-conscious Japanese bar gadget and kitchenware shop in North Oakland. But did you know about the not-so-secret bar in the back, where you can bop your head to old jazz records while perusing the finely curated shochu and sake collection? The classic highball couldn’t be simpler: a high-proof Iwai whisky from Nagano (so the drink isn’t actually \u003ci>that\u003c/i> weak), Fever Tree’s aggressively fizzy club soda, a slice of lemon peel and plenty of ice. It’s the kind of elegant cocktail you make for a person who enjoys cold beer: super smooth, super refreshing. On a hot day, there’s nothing better. \u003ci>—Luke Tsai\u003c/i>\u003c/p>\n\u003ch2>\u003cb>‘Last Mistake’ at North Light\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Mezcal, Aperol, aloe, citrus, ginger, soda\u003c/i> (\u003ci>$15)\u003c/i>\u003cbr>\n\u003ci>4915 Telegraph Ave., Oakland\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://northlight.bar/\">North Light\u003c/a> appears to be a narrow bar hidden between busy Temescal stores, but keep going to the back and it opens into a beautiful patio. The place serves delicious food (love the tater tots), and my go-to drink is the “Last Mistake,” a smooth and uplifting blend of mezcal, citrus flavors and ginger. My favorite thing about North Light is that it doubles as a bookstore whose selection is curated by writers and artists as illustrious as Michael Chabon, Patti Smith and Samin Nosrat. Nothing I love more than snacks and a drink with a book in front of me. (Also on the drinks front: the \u003ca href=\"http://kqed.org/live\">KQED Live\u003c/a> team’s July 13 cocktail event with the podcast Bay Curious!) —\u003ci>Sarah Rose Leonard\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13929633\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929633\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/E_E_CatHouse.jpg\" alt=\"A hand holding up a cocktail, with fruity, pulpy bits floating on top. A fully stocked bar is visible in the background.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A fruity, spicy “E&E” from the Cat House Bar makes a good start or finish to a Lake Merritt excursion. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>‘E&E’ at the Cat House Bar\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Tequila, mezcal, pineapple, cilantro, lime, jalapeño ($13)\u003c/i>\u003cbr>\n\u003ci>3255 Lakeshore Ave., Oakland\u003c/i>\u003c/p>\n\u003cp>When all else fails, add tequila and mezcal to your night for an extra summery kick. With fruity splashes of pineapple and lime and dashes of spice from the jalapeño and cilantro, \u003ca href=\"https://www.instagram.com/the_cat_house_bar/?hl=en\">The Cat House Bar’s\u003c/a> “E&E” is a perfectly balanced cocktail served in an elegant, laid-back environment. Pro tip: Both Lake Merritt and the aforementioned \u003ca href=\"https://www.bardooakland.com/\">Bardo\u003c/a> are within short walking distance. \u003ci>—A.C.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13929652\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Hitman_Dalva.jpg\" alt=\"A pink cocktail garnished with mint on a wood bar counter.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hitman’ is an pink, effervescent beauty of a cocktail. It also happens to be alcohol-free. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>The ‘Hitman’ at Dalva\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Grapefruit, lime, NA bitter, Mala syrup, soda ($7)\u003c/i>\u003cbr>\n\u003ci>3121 16th St., San Francisco\u003c/i>\u003c/p>\n\u003cp>There may not be another bar in San Francisco serving a better mocktail than this pink beauty at \u003ca href=\"https://www.instagram.com/dalva_thehideout/?hl=en\">Dalva\u003c/a>. The beverage is what some of my bar-hopping friends might call effervescent — it’s also light, minty, herbaceous and bubbly. Soak up the non-alcoholic (or \u003ca href=\"https://www.dalvasf.com/menu\">alcoholic\u003c/a>) vibes at this grown-up lounge with psychedelically-swirled decor next to the \u003ca href=\"https://www.instagram.com/roxie_theater/\">Roxie Theater\u003c/a>. Conveniently, it’s just a few feet away from some of the \u003ca href=\"https://www.instagram.com/panchitaspupuseria/?hl=en\">Bay Area’s best pupusas\u003c/a>. —\u003ci>A.C.\u003c/i>\u003c/p>\n\u003ch2>\u003cb>The Great American Sazerac at the Great American Music Hall\u003c/b>\u003c/h2>\n\u003cp>\u003ci>cognac, rye whiskey, simple syrup, absinthe rinse ($16)\u003c/i>\u003cbr>\n\u003ci>859 O’Farrell St., San Francisco\u003c/i>\u003c/p>\n\u003cp>In need of a good drink and show this summer? The \u003ca href=\"https://gamh.com/\">Great American Music Hall\u003c/a> is your place. This historic building lies in the heart of the city, surrounded by some of the best restaurants in San Francisco. Formerly known as “Blancos,” the venue was built in 1907, served as a speakeasy during Prohibition and, just like the movies, even had a small basement stage that remains to this day — the perfect place for an intimate show with your favorite artist. My go-to drink is the Great American Sazerac, a little drink that packs a punch and is as rich as the venue it’s named after. It’s complex, warm and just sweet enough to balance out the potent kick of rye whiskey. \u003ci>—Antony Fangary\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\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\n","blocks":[],"excerpt":"It's the season to unwind with an ice-cold Chamborlada, whisky highball or bourbon sweet tea.","status":"publish","parent":0,"modified":1705005454,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1542},"headData":{"title":"Bay Area Summer Cocktails to Drink in 2023 | KQED","description":"It's the season to unwind with an ice-cold Chamborlada, whisky highball or bourbon sweet tea.","ogTitle":"9 Bay Area Cocktails to Drink This Summer","ogDescription":"","ogImgId":"","twTitle":"9 Bay Area Cocktails to Drink This Summer","twDescription":"","twImgId":"","socialTitle":"Bay Area Summer Cocktails to Drink in 2023 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"9 Bay Area Cocktails to Drink This Summer","datePublished":"2023-05-25T17:30:02.000Z","dateModified":"2024-01-11T20:37:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"/food/","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929612/bay-area-summer-cocktails-summer-guide-2023","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Let’s be honest: Bay Area summers are hella weird. With inconsistent days that get interrupted by strong winds, fog and poorly-timed storms, it’s not quite the palm tree–saturated, sunglasses vibe that an uninitiated visitor might be craving. Still, it \u003ci>does \u003c/i>warm up around here (relatively speaking), and if you’re lucky, your boss might let you hop off the clock early so you can inhale more fresh oxygen than usual — or, better yet, unwind with a decadent cocktail in hand.\u003c/p>\n\u003cp>Whether it’s a non-alcoholic concoction with top-shelf botanical extracts sipped on a ritzy rooftop or a boozy behemoth poured with a heavy hand at a red-light dive bar, Bay Area bartenders will be serving up enough drinks this summer to keep Alcatraz Island afloat. Trust me, I did the science, it checks out.\u003c/p>\n\u003cp>Here’s where KQED employees will be sipping their favorite “warm-weather” cocktails around the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13929628\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929628\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BackPorch_Bardo-scaled.jpg\" alt=\"A bourbon cocktail served in a glass tumbler, garnished with a lemon slice and a sprig of mint.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BackPorch_Bardo-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The drink reminds the author of a hot Louisiana summer. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Back Porch at Bardo Lounge & Supper Club\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Bourbon, house black tea syrup, mint, Angostura, lemon peel ($14)\u003c/i>\u003cbr>\n\u003ci>3343 Lakeshore Ave., Oakland\u003c/i>\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>This slickly decorated, mid-century themed bar and restaurant tucked a few blocks away from Grand Lake Theater is a cocktail lover’s paradise. \u003ca href=\"https://www.instagram.com/bardo_oakland/\">Bardo’s\u003c/a> zine-length drink menu is sophisticated and diverse (including an impressive range of mocktails), but my personal favorite is the Back Porch. The name alone reminds me of a hot Louisiana summer, and the mix of bourbon and black tea syrup, with touches of fresh mint and lemon, give it that homemade sweet tea aroma you can’t ever go wrong with. \u003ci>—A.C.\u003c/i>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CblN8bbvQEu"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ch2>\u003cb>‘Surfer on Acid’ at White Cap\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Coconut coffee rum, amaro, sherry wine, falernum, pineapple ($14)\u003c/i>\u003c/p>\n\u003cp>\u003ci>3608 Taraval St., San Francisco\u003c/i>\u003c/p>\n\u003cp>Summer is a tough season in San Francisco. And it’s especially tough in the Outer Sunset. In the two summers I lived out in the Avenues, the cold fog could get so thick that I wasn’t able to see any sand on the beach, mere blocks away. One way to cope was by building fires to stay warm. The other? To bundle up in a down jacket and grab a cocktail at \u003ca href=\"https://whitecapsf.com/\">White Cap\u003c/a>. The “Surfer on Acid” is a classic — tropical, boozy — and while you’re drinking it, you can pretend you’re somewhere where it’s actually hot in May, June or July. \u003ci>—Bianca Taylor\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13929630\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Saturn_LittleHillLounge.jpg\" alt=\"Two mint-garnished tropical cocktails, lit from behind by candle light.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Saturn_LittleHillLounge-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Saturn is one of the refreshing tiki drinks you can find at El Cerrito’s Little Hill Lounge. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Saturn at Little Hill Lounge\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Gin, passion fruit, orgeat, falernum, lemon juice ($12)\u003c/i>\u003cbr>\n\u003ci>10753 San Pablo Ave., El Cerrito\u003c/i>\u003c/p>\n\u003cp>Here’s a quick lesson for my non-Spanish speakers: “cerro” translates as “hill” and “El Cerrito” means “the little hill.” So the next time you’re on Highway 80, look for the tiny hillside along the San Pablo Bay shoreline and tell your Uber driver to hop off the first exit. At \u003ca href=\"https://littlehillelcerrito.com/\">Little Hill Lounge\u003c/a>, you’ll encounter tiki drinks inside a retro ’70s red-interior room with a gorgeous oval-shaped bar in the middle. There might even be a neighborhood regular belting jukebox favorites to himself. The Saturn is my beverage of choice here. It’s smooth, satiating, zesty and simple. \u003ci>—A.C.\u003c/i>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"Coz_ZA6paN3"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ch2>\u003cb>Chamborlada at Forbidden Island\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Rum, Chambord, pineapple, coconut ($16)\u003c/i>\u003cbr>\n\u003ci>1304 Lincoln Ave., Alameda\u003c/i>\u003c/p>\n\u003cp>Full disclosure: I’m one of those maniacs whose favorite La Croix flavor is coconut. I want coconut everything. Coconut cake, coconut sake (it’s a real thing!), coconut protein bars — just give me all of the coconut. (Don’t tell me it tastes like sun block, I’ve heard it all before.) Because of that, \u003ca href=\"https://www.forbiddenislandalameda.com/\">Forbidden Island\u003c/a> is a cocktail paradise for me. There are ample drink options for coconut haters in this fantastically kitsch little joint, but there is also an entire section of the menu dedicated to “Coconutty Creations.” My favorite is the Chamborlada, a drink that combines light tropical flavors with a heavy hit of alcohol. It’s the perfect cocktail to transport you to a tropical island, even as the fog rolls over the Bay outside. —\u003ci>Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13929632\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/umami-mart-whisky-highball.jpg\" alt=\"A whisky highball in a tall glass, garnished with a slice of lemon peel.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/umami-mart-whisky-highball-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Japanese whisky highball at Umami Mart is simple, elegant and extremely refreshing. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Whisky Highball at Umami Mart\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Japanese whisky, soda, lemon ($12)\u003c/i>\u003cbr>\n\u003ci>4027 Broadway, Oakland\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928804,arts_13929494","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>As someone who goes for low-alcohol carbonated drinks almost exclusively (yes, I’m a lightweight), I love a good Japanese whisky highball. My drink of the summer this year is the version they’re pouring at \u003ca href=\"https://www.instagram.com/umamimart/?hl=en\">Umami Mart\u003c/a>, which you might know for its design-conscious Japanese bar gadget and kitchenware shop in North Oakland. But did you know about the not-so-secret bar in the back, where you can bop your head to old jazz records while perusing the finely curated shochu and sake collection? The classic highball couldn’t be simpler: a high-proof Iwai whisky from Nagano (so the drink isn’t actually \u003ci>that\u003c/i> weak), Fever Tree’s aggressively fizzy club soda, a slice of lemon peel and plenty of ice. It’s the kind of elegant cocktail you make for a person who enjoys cold beer: super smooth, super refreshing. On a hot day, there’s nothing better. \u003ci>—Luke Tsai\u003c/i>\u003c/p>\n\u003ch2>\u003cb>‘Last Mistake’ at North Light\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Mezcal, Aperol, aloe, citrus, ginger, soda\u003c/i> (\u003ci>$15)\u003c/i>\u003cbr>\n\u003ci>4915 Telegraph Ave., Oakland\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://northlight.bar/\">North Light\u003c/a> appears to be a narrow bar hidden between busy Temescal stores, but keep going to the back and it opens into a beautiful patio. The place serves delicious food (love the tater tots), and my go-to drink is the “Last Mistake,” a smooth and uplifting blend of mezcal, citrus flavors and ginger. My favorite thing about North Light is that it doubles as a bookstore whose selection is curated by writers and artists as illustrious as Michael Chabon, Patti Smith and Samin Nosrat. Nothing I love more than snacks and a drink with a book in front of me. (Also on the drinks front: the \u003ca href=\"http://kqed.org/live\">KQED Live\u003c/a> team’s July 13 cocktail event with the podcast Bay Curious!) —\u003ci>Sarah Rose Leonard\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13929633\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929633\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/E_E_CatHouse.jpg\" alt=\"A hand holding up a cocktail, with fruity, pulpy bits floating on top. A fully stocked bar is visible in the background.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/E_E_CatHouse-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A fruity, spicy “E&E” from the Cat House Bar makes a good start or finish to a Lake Merritt excursion. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>‘E&E’ at the Cat House Bar\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Tequila, mezcal, pineapple, cilantro, lime, jalapeño ($13)\u003c/i>\u003cbr>\n\u003ci>3255 Lakeshore Ave., Oakland\u003c/i>\u003c/p>\n\u003cp>When all else fails, add tequila and mezcal to your night for an extra summery kick. With fruity splashes of pineapple and lime and dashes of spice from the jalapeño and cilantro, \u003ca href=\"https://www.instagram.com/the_cat_house_bar/?hl=en\">The Cat House Bar’s\u003c/a> “E&E” is a perfectly balanced cocktail served in an elegant, laid-back environment. Pro tip: Both Lake Merritt and the aforementioned \u003ca href=\"https://www.bardooakland.com/\">Bardo\u003c/a> are within short walking distance. \u003ci>—A.C.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13929652\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Hitman_Dalva.jpg\" alt=\"A pink cocktail garnished with mint on a wood bar counter.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Hitman_Dalva-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hitman’ is an pink, effervescent beauty of a cocktail. It also happens to be alcohol-free. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>The ‘Hitman’ at Dalva\u003c/b>\u003c/h2>\n\u003cp>\u003ci>Grapefruit, lime, NA bitter, Mala syrup, soda ($7)\u003c/i>\u003cbr>\n\u003ci>3121 16th St., San Francisco\u003c/i>\u003c/p>\n\u003cp>There may not be another bar in San Francisco serving a better mocktail than this pink beauty at \u003ca href=\"https://www.instagram.com/dalva_thehideout/?hl=en\">Dalva\u003c/a>. The beverage is what some of my bar-hopping friends might call effervescent — it’s also light, minty, herbaceous and bubbly. Soak up the non-alcoholic (or \u003ca href=\"https://www.dalvasf.com/menu\">alcoholic\u003c/a>) vibes at this grown-up lounge with psychedelically-swirled decor next to the \u003ca href=\"https://www.instagram.com/roxie_theater/\">Roxie Theater\u003c/a>. Conveniently, it’s just a few feet away from some of the \u003ca href=\"https://www.instagram.com/panchitaspupuseria/?hl=en\">Bay Area’s best pupusas\u003c/a>. —\u003ci>A.C.\u003c/i>\u003c/p>\n\u003ch2>\u003cb>The Great American Sazerac at the Great American Music Hall\u003c/b>\u003c/h2>\n\u003cp>\u003ci>cognac, rye whiskey, simple syrup, absinthe rinse ($16)\u003c/i>\u003cbr>\n\u003ci>859 O’Farrell St., San Francisco\u003c/i>\u003c/p>\n\u003cp>In need of a good drink and show this summer? The \u003ca href=\"https://gamh.com/\">Great American Music Hall\u003c/a> is your place. This historic building lies in the heart of the city, surrounded by some of the best restaurants in San Francisco. Formerly known as “Blancos,” the venue was built in 1907, served as a speakeasy during Prohibition and, just like the movies, even had a small basement stage that remains to this day — the perfect place for an intimate show with your favorite artist. My go-to drink is the Great American Sazerac, a little drink that packs a punch and is as rich as the venue it’s named after. It’s complex, warm and just sweet enough to balance out the potent kick of rye whiskey. \u003ci>—Antony Fangary\u003c/i>\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-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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929612/bay-area-summer-cocktails-summer-guide-2023","authors":["11748","92"],"programs":["arts_140"],"categories":["arts_1","arts_12276","arts_235"],"tags":["arts_14987","arts_19355","arts_10278","arts_1297","arts_2187","arts_1143","arts_1146","arts_20565"],"featImg":"arts_13929626","label":"source_arts_13929612"},"arts_13915916":{"type":"posts","id":"arts_13915916","meta":{"index":"posts_1591205157","site":"arts","id":"13915916","score":null,"sort":[1657641611000]},"guestAuthors":[],"slug":"subhumans-great-american-music-hall","title":"The Subhumans Barrel Into San Francisco at Just the Right Time","publishDate":1657641611,"format":"link","headTitle":"The Subhumans Barrel Into San Francisco at Just the Right Time | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Punk bands are known for their economy: short songs played fast with a loud impact. So when the British band the Subhumans released their second album and included a 17-minute song called “\u003ca href=\"https://www.youtube.com/watch?v=jy5FMfTqf5k\" target=\"_blank\" rel=\"noopener noreferrer\">From the Cradle to the Grave\u003c/a>,” it shook the punk scene. The year was 1983. Every other punk band was churning out one-minute blasts of noise. What was up with this long, epic song?\u003c/p>\n\u003cp>The Subhumans may not have necessarily fit in with the punk scene of the early 1980s, but when I think now about the younger generation’s a disdain of capitalism and power structures in general, I can’t help but think they were a band ahead of their time. The Subhumans recorded songs about government, police and abuse of power, but also had songs about how to not lose faith, to \u003ca href=\"https://www.youtube.com/watch?v=nMlx3kQFIas\" target=\"_blank\" rel=\"noopener noreferrer\">find your community\u003c/a>, to keep fighting—and ultimately how to get through dark times for the country together. Sound familiar?\u003c/p>\n\u003cp>The Subhumans have reunited a few times over the years, and whenever they come to the Bay Area—a hotbed for political punk—it’s always special. The Subhumans play at the Great American Music Hall in San Francisco on Friday, July 15. \u003ca href=\"https://wl.seetickets.us/event/Subhumans/476283?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/jy5FMfTqf5k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The U.K. punk band's social critiques were ahead of their time. They're performing at Great American Music Hall on July 15. ","status":"publish","parent":0,"modified":1705006629,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":218},"headData":{"title":"The Subhumans Barrel Into San Francisco at Just the Right Time | KQED","description":"The U.K. punk band's social critiques were ahead of their time. They're performing at Great American Music Hall on July 15. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Subhumans Barrel Into San Francisco at Just the Right Time","datePublished":"2022-07-12T16:00:11.000Z","dateModified":"2024-01-11T20:57:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","eventPrice":"$17","startTime":1657942200,"endTime":1657954740,"startTimeString":"July 15","venueName":"Great American Music Hall","venueAddress":"859 O'Farrell St, San Francisco, CA 94109","eventLink":"https://wl.seetickets.us/event/Subhumans/476283?afflky=GreatAmericanMusicHall","excludeFromSiteSearch":"Include","path":"/arts/13915916/subhumans-great-american-music-hall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Punk bands are known for their economy: short songs played fast with a loud impact. So when the British band the Subhumans released their second album and included a 17-minute song called “\u003ca href=\"https://www.youtube.com/watch?v=jy5FMfTqf5k\" target=\"_blank\" rel=\"noopener noreferrer\">From the Cradle to the Grave\u003c/a>,” it shook the punk scene. The year was 1983. Every other punk band was churning out one-minute blasts of noise. What was up with this long, epic song?\u003c/p>\n\u003cp>The Subhumans may not have necessarily fit in with the punk scene of the early 1980s, but when I think now about the younger generation’s a disdain of capitalism and power structures in general, I can’t help but think they were a band ahead of their time. The Subhumans recorded songs about government, police and abuse of power, but also had songs about how to not lose faith, to \u003ca href=\"https://www.youtube.com/watch?v=nMlx3kQFIas\" target=\"_blank\" rel=\"noopener noreferrer\">find your community\u003c/a>, to keep fighting—and ultimately how to get through dark times for the country together. Sound familiar?\u003c/p>\n\u003cp>The Subhumans have reunited a few times over the years, and whenever they come to the Bay Area—a hotbed for political punk—it’s always special. The Subhumans play at the Great American Music Hall in San Francisco on Friday, July 15. \u003ca href=\"https://wl.seetickets.us/event/Subhumans/476283?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\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/jy5FMfTqf5k'\n title='//www.youtube.com/embed/jy5FMfTqf5k'\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13915916/subhumans-great-american-music-hall","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_2187","arts_913","arts_585"],"featImg":"arts_13915917","label":"arts_140"},"arts_13902628":{"type":"posts","id":"arts_13902628","meta":{"index":"posts_1591205157","site":"arts","id":"13902628","score":null,"sort":[1633038964000]},"guestAuthors":[],"slug":"the-burlesque-pioneer-who-fought-censorship-and-multiple-arrests","title":"The Burlesque Pioneer Who Fought Censorship and Multiple Arrests","publishDate":1633038964,"format":"standard","headTitle":"The Burlesque Pioneer Who Fought Censorship and Multiple Arrests | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>[dropcap]O[/dropcap]n Feb. 17, 1939, scores of beautiful, scantily clad women rode horses in formation through downtown San Francisco. The pedestrian-stopping trot down Market Street was an unmissable promotional stunt masterminded by Sally Rand—by then, one of the most notorious women in America. Rand was advertising her new Nude Ranch on Treasure Island—a 40-acre attraction that opened as part of the 1939 Golden Gate International Exposition. (She also had an attraction at the expo named Gay Paree.)\u003c/p>\n\u003cp>At Sally Rand’s Nude Ranch, between the hours of 1pm and 2am, visitors could observe beautiful women participating “vigorously” in an array of “outdoor sports.” By the end of the expo, the ranch had out-grossed almost every other attraction on Treasure Island. It was no wonder. Rand already had a firm handle on what San Francisco audiences wanted. She’d transformed the Music Box—today’s Great American Music Hall—into a burlesque revue three years earlier. But she’d also spent the better part of the decade scandalizing and titillating audiences around the country with, first, her legendary fan dance and, later, her bubble dance.\u003c/p>\n\u003cp>Also a licensed pilot, Rand inherently understood the power of spectacle. She chose her Nude Ranch as the starting point when she broke the light plane speed record, flying from San Francisco to Reno.\u003c/p>\n\u003cfigure id=\"attachment_13903920\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-800x625.png\" alt=\"\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-800x625.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1020x797.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-768x600.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1536x1201.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-2048x1601.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1920x1501.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sally Rand on Aug. 1 1939, outside her Nude Ranch, preparing to break the light plane speed record, flying from San Francisco to Reno. She did it in 1hr and 54 minutes. After completing the journey, she bought the airplane. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rand had dated \u003ca href=\"https://en.wikipedia.org/wiki/Charles_Lindbergh\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Lindbergh\u003c/a> in 1923 and it was he who first taught her how to fly a plane. By 1934, Rand had 240 hours of flying under her belt, in part because of her preference of flying herself to her own gigs. (“It’s the quickest, cleanest and most comfortable mode of travel,” she once asserted.) In 1943, during an \u003ca href=\"https://calgaryherald.com/news/local-news/stampede-100-day-countdown-1943\" target=\"_blank\" rel=\"noopener noreferrer\">interview with the \u003cem>Calgary Herald\u003c/em>\u003c/a>, Rand even expressed the desire to join the Air Force, to do her part for the war effort.\u003c/p>\n\u003cp>Even with her record-breaking flight planned, Rand knew the girls on horses parading up Market Street would provide the most effective kind of publicity of all: controversy. The horses were a nice touch too—Rand had gotten her first big break six years earlier, as a direct result of a stunt on a horse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[dropcap]A[/dropcap]round the opening of the 1933 World’s Fair in Chicago, Rand had been hired to make an appearance as Lady Godiva at the Chicago Artists Ball dinner—a high-end affair hosted by \u003ca href=\"https://en.wikipedia.org/wiki/Millicent_Hearst\" target=\"_blank\" rel=\"noopener noreferrer\">Millicent Hearst\u003c/a> at the Stevens Hotel. But instead of merely taking her $25 fee and going straight there, Rand decided to trust her gut and take a gamble. She used $10 of it to rent a white horse, and then hired a barge to take them both to a yacht landing at the World’s Fair. She arrived at the Streets of Paris attraction and was promptly waved into the fair by a security guard. Sally later said that he’d “figured that a broad that arrives on a boat with a horse is supposed to be there.”\u003c/p>\n\u003cp>[aside postid='arts_13871297']Rand, wearing only a long blonde wig and a white velvet cape, rode the entire expanse of the fair, before arriving at the hotel on South Michigan Avenue. (It was situated just outside the southeast corner of the fairgrounds.) Though Lady Godiva impersonators had been a staple at the Chicago Artists Ball for years, never had one shown up on an actual real-life horse before. When security refused to let the stallion enter the hotel with her, Rand cajoled four artists from the dinner into carrying her into the ball seated on a table, hoisted above their heads. Three thousand attendees erupted as Sally made her triumphant entrance.\u003c/p>\n\u003cp>The following morning, Rand found herself splashed across newspaper pages around the city. Visitors to the fair, meanwhile, were demanding to see Lady Godiva. Resourceful as always, Rand ran to the Cafe de la Paix—part of the Streets of Paris concession—declared who she was, and was hired on the spot. She quickly began performing her fan dance—a routine she had perfected while dancing at Chicago’s Paramount Club—12 to 16 times a day. In the first four weeks alone, 70,000 people came to see her tease the audience with her 20-pound ostrich feather props.\u003c/p>\n\u003cp>Highlights from Rand’s fan dance at the Street of Paris can be seen in the clip below, starting from 2:36.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nxUt9M2rVw\u003c/p>\n\u003cp>By the end of the fair, the Streets of Paris had proven to be the most popular and profitable attraction there, thanks in large part to Rand’s contributions. Though at various points during and after the World’s Fair, Rand claimed audiences thought they were seeing more of her than they really were, the surviving footage proves that her nudity was not all an illusion. Still, she always insisted with a wink and a smile, “The Rand is quicker than the eye.”\u003c/p>\n\u003cp>The scrappy resourcefulness Rand displayed when securing her position at the World’s Fair was the product of years of struggle. Sally Rand was born Harriet Helen Gould Beck on April 3, 1904 in Elkton, Missouri, a tiny village in the Ozarks. Her mother was a teacher, registered nurse and a correspondent for newspapers in Kansas and Missouri. Her father was a post office clerk who was outwardly religious and strict, but who also abandoned Rand, her little brother and her mother to be with a woman he met while stationed in France during World War I. Rand later said that she never recovered from the heartbreak of losing her father this way.\u003c/p>\n\u003cp>Rand was a tomboy with a penchant for fishing and riding horses until, at the age of 10, she saw Russian prima ballerina Anna Pavlova perform. The little girl threw herself into dance lessons and by 13, Rand was dancing in the chorus of Kansas City’s Empress Theater. At 14, she ran away with the Ringling Brothers Circus. She lied and told them she was 16 so she could train as an acrobat.\u003c/p>\n\u003cp>[aside postid='arts_13895374']Her circus life was short-lived, and Rand spent the rest of her teens hustling her way through a variety of jobs—as a nude or swimsuit model, a hat check girl and a cigarette girl. She danced at amusement parks, clubs and ballet companies, and sometimes entered beauty contests—including one put on by the Ziegfeld Follies on Broadway. Around that time, Rand was so impoverished, she even spent some time sleeping rough in Central Park.\u003c/p>\n\u003cp>At 18, Rand found a way to put a roof over her head, dancing with \u003ca href=\"https://www.youtube.com/watch?v=2rYrwrHsEoc\" target=\"_blank\" rel=\"noopener noreferrer\">Lew Leslie’s Blackbirds Orchestra\u003c/a>—a mostly Black revue on Broadway featuring Cab Calloway and Bill “Bojangles” Robinson. This was the show that first took Rand to California and gave her the idea of trying to make it in Hollywood. Once in L.A., Rand found work as an extra, was hired to do a 15-foot dive in a \u003ca href=\"https://www.imdb.com/name/nm0784407/?ref_=fn_al_nm_2\" target=\"_blank\" rel=\"noopener noreferrer\">Mack Sennett\u003c/a> movie, then got spotted by \u003ca href=\"https://www.imdb.com/name/nm0001124/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Cecil B. DeMille\u003c/a>, who was the one who gave her the stage name, Sally Rand. He once called her “the most beautiful girl in America.”\u003c/p>\n\u003cp>Despite her best efforts—in 1927’s \u003ca href=\"https://www.imdb.com/title/tt0017986/?ref_=nm_flmg_act_13\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Heroes in Blue\u003c/em>\u003c/a>, Rand performed a stunt that involved jumping from the fourth floor of a burning building—she found herself relegated to bit parts. Throughout her early 20s, Rand was still posing for ads, doing vaudeville performances and, sadly, still sometimes forced to sleep in alleyways. For a time, she danced in a traveling burlesque show called Sweethearts on Parade, and soon she found herself back in Chicago. The clubs where she danced in the windy city were kind to her—in part because she handled gangsters so well. She was friends with Al Capone’s bodyguard, \u003ca href=\"https://en.wikipedia.org/wiki/Jack_McGurn\" target=\"_blank\" rel=\"noopener noreferrer\">“Machine Gun Jack” McGurn\u003c/a>, and palled around with bootleggers on their yachts.\u003c/p>\n\u003cp>Rand’s World’s Fair success, then, felt both long overdue and hard won. After the fair, things were looking up. She earned $5,000 a week on tour, and was paid $20,000 to appear in 1934’s \u003cem>Bolero\u003c/em>. Once more, she wasn’t the star of the movie, but her grace and beauty lit up the screen, and her fan dance was immortalized forever. (The camera panned all the way to the back of the room for her “big reveal” at the end of the routine.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ahldaCK0DDI&t=73s\u003c/p>\n\u003cp>Rand’s new-found fame made her popular with both men and women. Men were enthralled by her beauty; women were inspired by her devil-may-care attitude, resilience and independent spirit. After \u003cem>Bolero\u003c/em>, in addition to touring America with a troupe of roller skating, dancing girls, Rand was also a popular speaker at women’s groups, conventions, luncheons, rotary clubs and colleges. At one point, she spoke at the Junior Chamber of Commerce. At another, she addressed the Class of ’41 at Harvard. Her wise-cracks and sense of humor made her enormously endearing at these events. She once joked, “I’m a girl from the Ozarks who likes going barefooted… up to the chin.”\u003c/p>\n\u003cp>In 1938, Rand found herself back on the big screen in \u003cem>Sunset Murder Case—\u003c/em>this time, with top billing. The movie also served to immortalize her bubble dance, albeit a PG-13 version of it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=40Gvhu-Q4VQ\u003c/p>\n\u003cp>Rand never did become a true star in Hollywood, probably because it was while she was performing burlesque that Rand was at her most alluring. She resolutely believed in it as an art form, and as an expression of female empowerment. Not only did Rand continue to perform her classic burlesque routines well into her senior years, she spent much of her life in and out of police stations and courtrooms in defense of it.\u003c/p>\n\u003cp>[dropcap]R[/dropcap]and was arrested too many times to count, for a litany of offenses related to her onstage nudity. It cost her a fortune in legal costs and fines. At the World’s Fair, because people filed complaints against the fair’s “lewd and lascivious dances and exhibits,” she was arrested repeatedly, and charged with obscenity. At Balaban and Katz’s Chicago Theater, where Rand performed between shows at the World’s Fair, she was arrested four times on her first day alone. Later, one New York judge called Rand’s act “repulsive to public decency,” prompting her to openly weep in court. It was rare for her to show such vulnerability. After one club in Rhode Island banned her, she merely said: “It’s just a shame that there are narrow-minded persons who can’t differentiate between art and indecency.”\u003c/p>\n\u003cp>In 1933, the \u003cem>San Francisco Examiner\u003c/em> reported on an incident in which Rand was confronted by a female police officer before a performance at a movie theater. The officer, Bessie McShane, insisted Rand wear strategically placed gauze on her body. As soon as Rand hit the stage, she ripped the gauze off and used her fans for coverage, as usual. After the performance, chaos broke out as McShane and a male sergeant tried to arrest Rand.\u003c/p>\n\u003cp>“Arresting a lithe, naked dancer covered in grease paint,” the \u003cem>Examiner\u003c/em> reported, “is about as hard as catching a greased pig.” After the police caught up with her, Rand was taken to the station wearing blue silk pajamas, booked for indecent exposure, and released on $400 bail. Rand later accused McShane of breaking one of her toes.\u003c/p>\n\u003cp>[aside postid='arts_13894842']In 1946, Sally was arrested in North Beach, while performing at the \u003ca href=\"https://www.facebook.com/The-Savoy-Tivoli-165996010894/\" target=\"_blank\" rel=\"noopener noreferrer\">Savoy Tivoli\u003c/a>. She was charged with indecent exposure, corrupting the morals of an audience and conducting an obscene show. During her subsequent trial, she continued to perform in the evening, sometimes while wearing a sign that read: “CENSORED. SFPD.” In the end, the judge in the case insisted that he couldn’t pass judgement until he’d seen Rand’s show himself. He attended the club one night, mid-trial, and concluded, “Anyone who could find something lewd about the dance as she puts it on, has to have a perverted idea of morals.” Rand was found not guilty.\u003c/p>\n\u003cp>It wasn’t just the law that got Rand into trouble. She had to tolerate unruly audience members trying to pop the giant balloon she danced with. Worse, on one occasion, a male audience member stuck his camera under the transparent curtain she was performing behind and snapped a photo. Rand—all five feet and 105 pounds of her—was so incensed, she threw on a robe, chased him down, smashed his camera and exposed his film. The man’s female companion claimed Rand bit her during the ensuing melee. Rand was convicted of assault and fined $100.\u003c/p>\n\u003cp>Rand was also sued repeatedly. Once by Billy Rose, who said he was the originator of the Nude Ranch. And, more infamously by Faith Bacon who had been performing a fan dance for two years when Rand started hers. Rand was forced to declare bankruptcy at least once.\u003c/p>\n\u003cp>It was these kinds of non-stop legal issues that contributed to Rand’s financial woes. By the end of her life, she had burned through her fortune. She supported many of the people close to her, including her mother, lovers and half-brothers. Her accountant failed to pay her taxes on time. She often spent too much on costumes and scenery. Rand was excellent at bringing money in, but terrible at managing it once she had it. The Music Box, at least, survived until the end of the war in 1946, probably thanks in no small part to the management of her partner, George Riccomi.\u003c/p>\n\u003cfigure id=\"attachment_13904097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904097\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Gay-Paree-passport-800x371.jpg\" alt=\"\" width=\"800\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1920x891.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A souvenir passport from Sally Rand’s Gay Paree attraction at the 1939 Golden Gate International Exposition. Because of Rand’s commitment to these kinds of delightful but expensive details, Gay Paree was not a profitable attraction despite being very popular. \u003ccite>(Rae Alexandra/ Courtesy of the History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rand’s personal life was messy too. She had three failed marriages—to her agent, a rodeo cowboy and a contractor. At 44, and still single, she adopted her son Sean from an unwed showgirl. The adoption, however, was not made legal until Sean turned 21.\u003c/p>\n\u003cp>Later in life, Rand’s base was a ranch in Glendora, near Los Angeles, that she purchased for her mother. Rand managed to acquire a college degree at the age of 52, but she never, ever stopped working the clubs. In the 1960s, when appearing at a Las Vegas casino, she told a reporter she was there because of “problems with the tax boys.” In the early 1970s, she appeared in \u003cem>This Was Burlesque\u003c/em> at San Francisco’s Mitchell Brothers strip club. Age to Rand was simply a number, and onlookers often marveled at how youthful she remained even in her sixties. “What in heaven’s name is strange about a grandmother dancing nude?” she once said. “I’ll bet lots of grandmothers do it.”\u003c/p>\n\u003cp>Sally Rand died of congestive heart failure at the Foothill Presbyterian Hospital in Glendora, on Aug. 31, 1979. But her legendary routines live on in burlesque today, with high profile dancers like \u003ca href=\"https://www.youtube.com/watch?v=fHM2nOE5LsE&list=RDfHM2nOE5LsE&start_radio=1\" target=\"_blank\" rel=\"noopener noreferrer\">Dita Von Teese still paying tribute\u003c/a> to her. At the time of Rand’s death, one \u003cem>Petaluma Argus\u003c/em> reporter recalled a conversation he had had with her in 1965.\u003c/p>\n\u003cp>“Whenever you introduce something new,” she said, “there are those who try to find a moral reason against it. I proved that my type of dancing was art—and that I was artistic.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Controversy followed Sally Rand wherever she went. She responded by holding her head high, cracking a joke and refusing to stop.","status":"publish","parent":0,"modified":1705090700,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":2786},"headData":{"title":"The Burlesque Pioneer Who Fought Censorship and Multiple Arrests | KQED","description":"Controversy followed Sally Rand wherever she went. She responded by holding her head high, cracking a joke and refusing to stop.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Burlesque Pioneer Who Fought Censorship and Multiple Arrests","datePublished":"2021-09-30T21:56:04.000Z","dateModified":"2024-01-12T20:18:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/12208366-41e3-4b11-9065-add600fd741c/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13902628/the-burlesque-pioneer-who-fought-censorship-and-multiple-arrests","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n Feb. 17, 1939, scores of beautiful, scantily clad women rode horses in formation through downtown San Francisco. The pedestrian-stopping trot down Market Street was an unmissable promotional stunt masterminded by Sally Rand—by then, one of the most notorious women in America. Rand was advertising her new Nude Ranch on Treasure Island—a 40-acre attraction that opened as part of the 1939 Golden Gate International Exposition. (She also had an attraction at the expo named Gay Paree.)\u003c/p>\n\u003cp>At Sally Rand’s Nude Ranch, between the hours of 1pm and 2am, visitors could observe beautiful women participating “vigorously” in an array of “outdoor sports.” By the end of the expo, the ranch had out-grossed almost every other attraction on Treasure Island. It was no wonder. Rand already had a firm handle on what San Francisco audiences wanted. She’d transformed the Music Box—today’s Great American Music Hall—into a burlesque revue three years earlier. But she’d also spent the better part of the decade scandalizing and titillating audiences around the country with, first, her legendary fan dance and, later, her bubble dance.\u003c/p>\n\u003cp>Also a licensed pilot, Rand inherently understood the power of spectacle. She chose her Nude Ranch as the starting point when she broke the light plane speed record, flying from San Francisco to Reno.\u003c/p>\n\u003cfigure id=\"attachment_13903920\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-800x625.png\" alt=\"\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-800x625.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1020x797.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-768x600.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1536x1201.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-2048x1601.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1920x1501.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sally Rand on Aug. 1 1939, outside her Nude Ranch, preparing to break the light plane speed record, flying from San Francisco to Reno. She did it in 1hr and 54 minutes. After completing the journey, she bought the airplane. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rand had dated \u003ca href=\"https://en.wikipedia.org/wiki/Charles_Lindbergh\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Lindbergh\u003c/a> in 1923 and it was he who first taught her how to fly a plane. By 1934, Rand had 240 hours of flying under her belt, in part because of her preference of flying herself to her own gigs. (“It’s the quickest, cleanest and most comfortable mode of travel,” she once asserted.) In 1943, during an \u003ca href=\"https://calgaryherald.com/news/local-news/stampede-100-day-countdown-1943\" target=\"_blank\" rel=\"noopener noreferrer\">interview with the \u003cem>Calgary Herald\u003c/em>\u003c/a>, Rand even expressed the desire to join the Air Force, to do her part for the war effort.\u003c/p>\n\u003cp>Even with her record-breaking flight planned, Rand knew the girls on horses parading up Market Street would provide the most effective kind of publicity of all: controversy. The horses were a nice touch too—Rand had gotten her first big break six years earlier, as a direct result of a stunt on a horse.\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>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>round the opening of the 1933 World’s Fair in Chicago, Rand had been hired to make an appearance as Lady Godiva at the Chicago Artists Ball dinner—a high-end affair hosted by \u003ca href=\"https://en.wikipedia.org/wiki/Millicent_Hearst\" target=\"_blank\" rel=\"noopener noreferrer\">Millicent Hearst\u003c/a> at the Stevens Hotel. But instead of merely taking her $25 fee and going straight there, Rand decided to trust her gut and take a gamble. She used $10 of it to rent a white horse, and then hired a barge to take them both to a yacht landing at the World’s Fair. She arrived at the Streets of Paris attraction and was promptly waved into the fair by a security guard. Sally later said that he’d “figured that a broad that arrives on a boat with a horse is supposed to be there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13871297","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Rand, wearing only a long blonde wig and a white velvet cape, rode the entire expanse of the fair, before arriving at the hotel on South Michigan Avenue. (It was situated just outside the southeast corner of the fairgrounds.) Though Lady Godiva impersonators had been a staple at the Chicago Artists Ball for years, never had one shown up on an actual real-life horse before. When security refused to let the stallion enter the hotel with her, Rand cajoled four artists from the dinner into carrying her into the ball seated on a table, hoisted above their heads. Three thousand attendees erupted as Sally made her triumphant entrance.\u003c/p>\n\u003cp>The following morning, Rand found herself splashed across newspaper pages around the city. Visitors to the fair, meanwhile, were demanding to see Lady Godiva. Resourceful as always, Rand ran to the Cafe de la Paix—part of the Streets of Paris concession—declared who she was, and was hired on the spot. She quickly began performing her fan dance—a routine she had perfected while dancing at Chicago’s Paramount Club—12 to 16 times a day. In the first four weeks alone, 70,000 people came to see her tease the audience with her 20-pound ostrich feather props.\u003c/p>\n\u003cp>Highlights from Rand’s fan dance at the Street of Paris can be seen in the clip below, starting from 2:36.\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/9nxUt9M2rVw'\n title='//www.youtube.com/embed/9nxUt9M2rVw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the end of the fair, the Streets of Paris had proven to be the most popular and profitable attraction there, thanks in large part to Rand’s contributions. Though at various points during and after the World’s Fair, Rand claimed audiences thought they were seeing more of her than they really were, the surviving footage proves that her nudity was not all an illusion. Still, she always insisted with a wink and a smile, “The Rand is quicker than the eye.”\u003c/p>\n\u003cp>The scrappy resourcefulness Rand displayed when securing her position at the World’s Fair was the product of years of struggle. Sally Rand was born Harriet Helen Gould Beck on April 3, 1904 in Elkton, Missouri, a tiny village in the Ozarks. Her mother was a teacher, registered nurse and a correspondent for newspapers in Kansas and Missouri. Her father was a post office clerk who was outwardly religious and strict, but who also abandoned Rand, her little brother and her mother to be with a woman he met while stationed in France during World War I. Rand later said that she never recovered from the heartbreak of losing her father this way.\u003c/p>\n\u003cp>Rand was a tomboy with a penchant for fishing and riding horses until, at the age of 10, she saw Russian prima ballerina Anna Pavlova perform. The little girl threw herself into dance lessons and by 13, Rand was dancing in the chorus of Kansas City’s Empress Theater. At 14, she ran away with the Ringling Brothers Circus. She lied and told them she was 16 so she could train as an acrobat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13895374","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Her circus life was short-lived, and Rand spent the rest of her teens hustling her way through a variety of jobs—as a nude or swimsuit model, a hat check girl and a cigarette girl. She danced at amusement parks, clubs and ballet companies, and sometimes entered beauty contests—including one put on by the Ziegfeld Follies on Broadway. Around that time, Rand was so impoverished, she even spent some time sleeping rough in Central Park.\u003c/p>\n\u003cp>At 18, Rand found a way to put a roof over her head, dancing with \u003ca href=\"https://www.youtube.com/watch?v=2rYrwrHsEoc\" target=\"_blank\" rel=\"noopener noreferrer\">Lew Leslie’s Blackbirds Orchestra\u003c/a>—a mostly Black revue on Broadway featuring Cab Calloway and Bill “Bojangles” Robinson. This was the show that first took Rand to California and gave her the idea of trying to make it in Hollywood. Once in L.A., Rand found work as an extra, was hired to do a 15-foot dive in a \u003ca href=\"https://www.imdb.com/name/nm0784407/?ref_=fn_al_nm_2\" target=\"_blank\" rel=\"noopener noreferrer\">Mack Sennett\u003c/a> movie, then got spotted by \u003ca href=\"https://www.imdb.com/name/nm0001124/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Cecil B. DeMille\u003c/a>, who was the one who gave her the stage name, Sally Rand. He once called her “the most beautiful girl in America.”\u003c/p>\n\u003cp>Despite her best efforts—in 1927’s \u003ca href=\"https://www.imdb.com/title/tt0017986/?ref_=nm_flmg_act_13\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Heroes in Blue\u003c/em>\u003c/a>, Rand performed a stunt that involved jumping from the fourth floor of a burning building—she found herself relegated to bit parts. Throughout her early 20s, Rand was still posing for ads, doing vaudeville performances and, sadly, still sometimes forced to sleep in alleyways. For a time, she danced in a traveling burlesque show called Sweethearts on Parade, and soon she found herself back in Chicago. The clubs where she danced in the windy city were kind to her—in part because she handled gangsters so well. She was friends with Al Capone’s bodyguard, \u003ca href=\"https://en.wikipedia.org/wiki/Jack_McGurn\" target=\"_blank\" rel=\"noopener noreferrer\">“Machine Gun Jack” McGurn\u003c/a>, and palled around with bootleggers on their yachts.\u003c/p>\n\u003cp>Rand’s World’s Fair success, then, felt both long overdue and hard won. After the fair, things were looking up. She earned $5,000 a week on tour, and was paid $20,000 to appear in 1934’s \u003cem>Bolero\u003c/em>. Once more, she wasn’t the star of the movie, but her grace and beauty lit up the screen, and her fan dance was immortalized forever. (The camera panned all the way to the back of the room for her “big reveal” at the end of the routine.)\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/ahldaCK0DDI'\n title='//www.youtube.com/embed/ahldaCK0DDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rand’s new-found fame made her popular with both men and women. Men were enthralled by her beauty; women were inspired by her devil-may-care attitude, resilience and independent spirit. After \u003cem>Bolero\u003c/em>, in addition to touring America with a troupe of roller skating, dancing girls, Rand was also a popular speaker at women’s groups, conventions, luncheons, rotary clubs and colleges. At one point, she spoke at the Junior Chamber of Commerce. At another, she addressed the Class of ’41 at Harvard. Her wise-cracks and sense of humor made her enormously endearing at these events. She once joked, “I’m a girl from the Ozarks who likes going barefooted… up to the chin.”\u003c/p>\n\u003cp>In 1938, Rand found herself back on the big screen in \u003cem>Sunset Murder Case—\u003c/em>this time, with top billing. The movie also served to immortalize her bubble dance, albeit a PG-13 version of it.\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/40Gvhu-Q4VQ'\n title='//www.youtube.com/embed/40Gvhu-Q4VQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rand never did become a true star in Hollywood, probably because it was while she was performing burlesque that Rand was at her most alluring. She resolutely believed in it as an art form, and as an expression of female empowerment. Not only did Rand continue to perform her classic burlesque routines well into her senior years, she spent much of her life in and out of police stations and courtrooms in defense of it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">R\u003c/span>\u003c/p>\u003cp>and was arrested too many times to count, for a litany of offenses related to her onstage nudity. It cost her a fortune in legal costs and fines. At the World’s Fair, because people filed complaints against the fair’s “lewd and lascivious dances and exhibits,” she was arrested repeatedly, and charged with obscenity. At Balaban and Katz’s Chicago Theater, where Rand performed between shows at the World’s Fair, she was arrested four times on her first day alone. Later, one New York judge called Rand’s act “repulsive to public decency,” prompting her to openly weep in court. It was rare for her to show such vulnerability. After one club in Rhode Island banned her, she merely said: “It’s just a shame that there are narrow-minded persons who can’t differentiate between art and indecency.”\u003c/p>\n\u003cp>In 1933, the \u003cem>San Francisco Examiner\u003c/em> reported on an incident in which Rand was confronted by a female police officer before a performance at a movie theater. The officer, Bessie McShane, insisted Rand wear strategically placed gauze on her body. As soon as Rand hit the stage, she ripped the gauze off and used her fans for coverage, as usual. After the performance, chaos broke out as McShane and a male sergeant tried to arrest Rand.\u003c/p>\n\u003cp>“Arresting a lithe, naked dancer covered in grease paint,” the \u003cem>Examiner\u003c/em> reported, “is about as hard as catching a greased pig.” After the police caught up with her, Rand was taken to the station wearing blue silk pajamas, booked for indecent exposure, and released on $400 bail. Rand later accused McShane of breaking one of her toes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894842","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In 1946, Sally was arrested in North Beach, while performing at the \u003ca href=\"https://www.facebook.com/The-Savoy-Tivoli-165996010894/\" target=\"_blank\" rel=\"noopener noreferrer\">Savoy Tivoli\u003c/a>. She was charged with indecent exposure, corrupting the morals of an audience and conducting an obscene show. During her subsequent trial, she continued to perform in the evening, sometimes while wearing a sign that read: “CENSORED. SFPD.” In the end, the judge in the case insisted that he couldn’t pass judgement until he’d seen Rand’s show himself. He attended the club one night, mid-trial, and concluded, “Anyone who could find something lewd about the dance as she puts it on, has to have a perverted idea of morals.” Rand was found not guilty.\u003c/p>\n\u003cp>It wasn’t just the law that got Rand into trouble. She had to tolerate unruly audience members trying to pop the giant balloon she danced with. Worse, on one occasion, a male audience member stuck his camera under the transparent curtain she was performing behind and snapped a photo. Rand—all five feet and 105 pounds of her—was so incensed, she threw on a robe, chased him down, smashed his camera and exposed his film. The man’s female companion claimed Rand bit her during the ensuing melee. Rand was convicted of assault and fined $100.\u003c/p>\n\u003cp>Rand was also sued repeatedly. Once by Billy Rose, who said he was the originator of the Nude Ranch. And, more infamously by Faith Bacon who had been performing a fan dance for two years when Rand started hers. Rand was forced to declare bankruptcy at least once.\u003c/p>\n\u003cp>It was these kinds of non-stop legal issues that contributed to Rand’s financial woes. By the end of her life, she had burned through her fortune. She supported many of the people close to her, including her mother, lovers and half-brothers. Her accountant failed to pay her taxes on time. She often spent too much on costumes and scenery. Rand was excellent at bringing money in, but terrible at managing it once she had it. The Music Box, at least, survived until the end of the war in 1946, probably thanks in no small part to the management of her partner, George Riccomi.\u003c/p>\n\u003cfigure id=\"attachment_13904097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904097\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Gay-Paree-passport-800x371.jpg\" alt=\"\" width=\"800\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1920x891.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A souvenir passport from Sally Rand’s Gay Paree attraction at the 1939 Golden Gate International Exposition. Because of Rand’s commitment to these kinds of delightful but expensive details, Gay Paree was not a profitable attraction despite being very popular. \u003ccite>(Rae Alexandra/ Courtesy of the History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rand’s personal life was messy too. She had three failed marriages—to her agent, a rodeo cowboy and a contractor. At 44, and still single, she adopted her son Sean from an unwed showgirl. The adoption, however, was not made legal until Sean turned 21.\u003c/p>\n\u003cp>Later in life, Rand’s base was a ranch in Glendora, near Los Angeles, that she purchased for her mother. Rand managed to acquire a college degree at the age of 52, but she never, ever stopped working the clubs. In the 1960s, when appearing at a Las Vegas casino, she told a reporter she was there because of “problems with the tax boys.” In the early 1970s, she appeared in \u003cem>This Was Burlesque\u003c/em> at San Francisco’s Mitchell Brothers strip club. Age to Rand was simply a number, and onlookers often marveled at how youthful she remained even in her sixties. “What in heaven’s name is strange about a grandmother dancing nude?” she once said. “I’ll bet lots of grandmothers do it.”\u003c/p>\n\u003cp>Sally Rand died of congestive heart failure at the Foothill Presbyterian Hospital in Glendora, on Aug. 31, 1979. But her legendary routines live on in burlesque today, with high profile dancers like \u003ca href=\"https://www.youtube.com/watch?v=fHM2nOE5LsE&list=RDfHM2nOE5LsE&start_radio=1\" target=\"_blank\" rel=\"noopener noreferrer\">Dita Von Teese still paying tribute\u003c/a> to her. At the time of Rand’s death, one \u003cem>Petaluma Argus\u003c/em> reporter recalled a conversation he had had with her in 1965.\u003c/p>\n\u003cp>“Whenever you introduce something new,” she said, “there are those who try to find a moral reason against it. I proved that my type of dancing was art—and that I was artistic.”\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13902628/the-burlesque-pioneer-who-fought-censorship-and-multiple-arrests","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_879","arts_10278","arts_2187","arts_21841"],"featImg":"arts_13904060","label":"arts_8978"},"arts_13877225":{"type":"posts","id":"arts_13877225","meta":{"index":"posts_1591205157","site":"arts","id":"13877225","score":null,"sort":[1584748508000]},"guestAuthors":[],"slug":"slims-a-storied-sf-concert-hall-permanently-closes-after-30-years","title":"Slim's, Storied SF Nightclub, Closes Permanently After 30 Years","publishDate":1584748508,"format":"standard","headTitle":"Slim’s, Storied SF Nightclub, Closes Permanently After 30 Years | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Venues all over California are closed right now due to the state’s shelter-in-place ordinance, but one San Francisco institution will stay that way permanently. Boz Scaggs, the owner of Slim’s, revealed today that the storied San Francisco nightclub will not reopen after over 30 years in business.\u003c/p>\n\u003cp>“Slim’s had its day,” Scaggs \u003ca href=\"https://datebook.sfchronicle.com/music/slims-to-close-after-more-than-three-decades-at-heart-of-sfs-music-scene#\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, explaining that plans to close had been in the works since last year.\u003c/p>\n\u003cp>“It was a long-term decision based on things that had nothing to do with the current situation,” he added.\u003c/p>\n\u003cp>Slim’s opened in 1988 as a juke joint that focused on R&B, jazz and blues, and quickly became one of San Francisco’s most famous clubs with an ever-evolving repertoire of genres. Sun Ra, Pearl Jam, Green Day, Radiohead, Prince and Snoop Dogg were just some of the greats who performed there, and the mid-sized venue became known as an intimate setting where fans could catch touring acts and up-and-coming local bands alike.\u003c/p>\n\u003cp>An era ended at the club when longtime manager Dawn Holliday retired in 2017. In 2018, promotions giant Goldenvoice, which presents Coachella, \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\" target=\"_blank\" rel=\"noopener noreferrer\">took control of booking\u003c/a> at Slim’s as well as at sister venue the Great American Music Hall, laying off some longtime staff.\u003c/p>\n\u003cp>Scaggs told the \u003cem>Chronicle\u003c/em> that the Great American Music Hall will remain open, where Slim’s staff will have jobs once the shelter-in-place order is lifted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Owner Boz Scaggs says plans to close had been in the works before the coronavirus crisis. ","status":"publish","parent":0,"modified":1705021043,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":261},"headData":{"title":"Slim's, Storied SF Nightclub, Closes Permanently After 30 Years | KQED","description":"Owner Boz Scaggs says plans to close had been in the works before the coronavirus crisis. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Slim's, Storied SF Nightclub, Closes Permanently After 30 Years","datePublished":"2020-03-20T23:55:08.000Z","dateModified":"2024-01-12T00:57:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Venues all over California are closed right now due to the state’s shelter-in-place ordinance, but one San Francisco institution will stay that way permanently. Boz Scaggs, the owner of Slim’s, revealed today that the storied San Francisco nightclub will not reopen after over 30 years in business.\u003c/p>\n\u003cp>“Slim’s had its day,” Scaggs \u003ca href=\"https://datebook.sfchronicle.com/music/slims-to-close-after-more-than-three-decades-at-heart-of-sfs-music-scene#\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, explaining that plans to close had been in the works since last year.\u003c/p>\n\u003cp>“It was a long-term decision based on things that had nothing to do with the current situation,” he added.\u003c/p>\n\u003cp>Slim’s opened in 1988 as a juke joint that focused on R&B, jazz and blues, and quickly became one of San Francisco’s most famous clubs with an ever-evolving repertoire of genres. Sun Ra, Pearl Jam, Green Day, Radiohead, Prince and Snoop Dogg were just some of the greats who performed there, and the mid-sized venue became known as an intimate setting where fans could catch touring acts and up-and-coming local bands alike.\u003c/p>\n\u003cp>An era ended at the club when longtime manager Dawn Holliday retired in 2017. In 2018, promotions giant Goldenvoice, which presents Coachella, \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\" target=\"_blank\" rel=\"noopener noreferrer\">took control of booking\u003c/a> at Slim’s as well as at sister venue the Great American Music Hall, laying off some longtime staff.\u003c/p>\n\u003cp>Scaggs told the \u003cem>Chronicle\u003c/em> that the Great American Music Hall will remain open, where Slim’s staff will have jobs once the shelter-in-place order is lifted.\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/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_1118","arts_10278","arts_3875","arts_2187","arts_3278"],"featImg":"arts_13877227","label":"arts"},"arts_13852426":{"type":"posts","id":"arts_13852426","meta":{"index":"posts_1591205157","site":"arts","id":"13852426","score":null,"sort":[1551974425000]},"guestAuthors":[],"slug":"julia-holter-brings-stunning-chamber-pop-to-the-great-american-music-hall","title":"Julia Holter Brings Stunning Chamber-Pop to the Great American Music Hall","publishDate":1551974425,"format":"standard","headTitle":"Julia Holter Brings Stunning Chamber-Pop to the Great American Music Hall | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>Aviary\u003c/em>, Los Angeles songwriter and composer Julia Holter’s fifth studio album, opens with an eruption of cymbals and strings. The song is called “Turn the Light On,” and with a quality typical of Holter’s work, it billows and swirls without losing definition, suffused with glinting keys yet grounded by a warmly organic rhythm section. \u003c/p>\n\u003cp>The album, which appeared last year on Domino Records, is the latest entry in a startlingly dynamic, pan-Californian catalog: Holter seems as familiar with the experimental electronic legacy of Mills College as she does with the mystique of Laurel Canyon. (Her band has strong ties to the Bay Area.) She processes her voice beyond recognition, and she uses the magic of enunciation to render words otherworldly. She references ancient and jazz age literature, and she makes harpsichord sound contemporary. \u003cem>Aviary, \u003c/em>with its dense orchestration and powerful centrifuge, also carries forward the ensemble feel Holter first firmly struck on the stunning \u003cem>Loud City Song\u003c/em> in 2013.\u003c/p>\n\u003cp>Holter performs Fri., March 8 at the \u003ca href=\"https://slimspresents.com/event/julia-holter-gamh/\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://juliaholter.bandcamp.com/album/aviary\">Aviary by Julia Holter\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Los Angeles songwriter and composer Julia Holter is touring in support of \"Aviary.\"","status":"publish","parent":0,"modified":1705026513,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":187},"headData":{"title":"Julia Holter Brings Stunning Chamber-Pop to the Great American Music Hall | KQED","description":"Los Angeles songwriter and composer Julia Holter is touring in support of "Aviary."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Julia Holter Brings Stunning Chamber-Pop to the Great American Music Hall","datePublished":"2019-03-07T16:00:25.000Z","dateModified":"2024-01-12T02:28:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13852426/julia-holter-brings-stunning-chamber-pop-to-the-great-american-music-hall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Aviary\u003c/em>, Los Angeles songwriter and composer Julia Holter’s fifth studio album, opens with an eruption of cymbals and strings. The song is called “Turn the Light On,” and with a quality typical of Holter’s work, it billows and swirls without losing definition, suffused with glinting keys yet grounded by a warmly organic rhythm section. \u003c/p>\n\u003cp>The album, which appeared last year on Domino Records, is the latest entry in a startlingly dynamic, pan-Californian catalog: Holter seems as familiar with the experimental electronic legacy of Mills College as she does with the mystique of Laurel Canyon. (Her band has strong ties to the Bay Area.) She processes her voice beyond recognition, and she uses the magic of enunciation to render words otherworldly. She references ancient and jazz age literature, and she makes harpsichord sound contemporary. \u003cem>Aviary, \u003c/em>with its dense orchestration and powerful centrifuge, also carries forward the ensemble feel Holter first firmly struck on the stunning \u003cem>Loud City Song\u003c/em> in 2013.\u003c/p>\n\u003cp>Holter performs Fri., March 8 at the \u003ca href=\"https://slimspresents.com/event/julia-holter-gamh/\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://juliaholter.bandcamp.com/album/aviary\">Aviary by Julia Holter\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13852426/julia-holter-brings-stunning-chamber-pop-to-the-great-american-music-hall","authors":["11091"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_1118","arts_2187","arts_596","arts_1334"],"featImg":"arts_13852430","label":"arts_140"},"arts_13850185":{"type":"posts","id":"arts_13850185","meta":{"index":"posts_1591205157","site":"arts","id":"13850185","score":null,"sort":[1549472430000]},"guestAuthors":[],"slug":"slims-great-american-music-hall-workers-axed-as-goldenvoice-expands","title":"Slim’s, Great American Music Hall Workers Axed as Goldenvoice Expands","publishDate":1549472430,"format":"audio","headTitle":"Slim’s, Great American Music Hall Workers Axed as Goldenvoice Expands | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 1988, Bill Graham’s former assistant Queenie Taylor hired Tanya Pinkerton to help publicize events and distribute concert listings for a new venue called Slim’s. In 2000, when Slim’s acquired the Great American Music Hall, Pinkerton gladly added the historic venue to her client list.\u003c/p>\n\u003cp>But a year after Slim’s and the Great American Music Hall inked a booking agreement with corporate promoter Goldenvoice, Pinkerton was recently told her work is redundant.\u003c/p>\n\u003cp>She was let go in January, shortly after manager Dana Smith and promoter Tracey Buck were also laid off. Goldenvoice, Pinkerton was told by email, already had concert listings covered. “What’s funny is, after 30 years I decided to increase my price, by about $15 a month,” she said. “So finally I got the chutzpah to ask for a raise, and I was fired instead.”\u003c/p>\n\u003cp>The layoffs came one year after Slim’s and GAMH, for years considered two of the city’s flagship independent venues, \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\" target=\"_blank\" rel=\"noopener\">outsourced booking\u003c/a> to Goldenvoice, the Coachella promoter that, like competitor Live Nation, has dramatically expanded in the Bay Area. [contextly_sidebar id=”M02WlLvasLOY4Nr5liulnoTByM8DUWqb”]\u003c/p>\n\u003cp>Based in Los Angeles, Goldenvoice first entered San Francisco when it \u003ca href=\"https://www.sfgate.com/bayarea/article/Battle-of-the-Bay-Area-concert-promoters-3278473.php\" target=\"_blank\" rel=\"noopener\">took over\u003c/a> the Warfield and the Regency Ballroom in 2008. Last year, it launched the Blurry Vision music festival in Oakland. Recently the company also announced a concert series at Stanford University’s Frost Amphitheater. With Slim’s and GAMH, Goldenvoice now runs concert promotions at every level—from a small club to a large festival—in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The company is not without controversy. AEG, Goldenvoice’s parent company, is owned by Philip Anschutz, a multibillionaire conservative philanthropist with \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\" target=\"_blank\" rel=\"noopener\">an anti-LGBTQ record\u003c/a>. Corporate saturation of the local concert market is also detrimental, critics say, to a healthy local scene of independent venues and promoters, as well as local bands and fans.\u003c/p>\n\u003cp>Jamie Zawinski, the owner of Slim’s neighbor DNA Lounge, is among the local music industry figures sounding the alarm about Goldenvoice and Live Nation. In response to the Slim’s and GAMH partnership, he wrote a \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">widely shared blog post\u003c/a> arguing that the companies’ expansive concert and ticketing holdings are monopolistic and “bad for our culture as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13846954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg\" alt=\"Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters’ expansion in San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinkerton likened her relationship with Slim’s and GAMH workers to a familial bond, calling them friends and a steady source of referrals. It was a tight-knit operation that \u003ca href=\"http://www.ampthemag.com/the-real/dawn-holliday-im-not-retiring-im-resisting/\" target=\"_blank\" rel=\"noopener\">until 2017\u003c/a> was overseen by talent buyer Dawn Holliday, who last year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707&showFullText=true\">called\u003c/a> the Goldenvoice partnership a “great source of sadness.”\u003c/p>\n\u003cp>Since Goldenvoice took over the calendars, venue management left its SoMa office. Anthony Bedard, the junior talent buyer and longtime Hemlock Tavern booker, was let go early last year. The most recent layoffs, according to Pinkerton, reflect Goldenvoice’s regional workers taking on more promotions and marketing duties for the venues.\u003c/p>\n\u003cp>Pinkerton said Buck and Smith, who declined to be interviewed, were laid off Monday, Jan. 7, and cleared out that day. The next Tuesday, Pinkerton received an email from Kent Jamieson, the venues’ new general manager, saying the partnership with Goldenvoice made her company, Bay Area Entertainment Listings, a “redundancy.” [contextly_sidebar id=”PK16JBKPiZNgDb9e5ewQLNLkdKFK9QEA”]\u003c/p>\n\u003cp>“It was crappy,” she said. “After 30 years I would’ve liked to have been told in person.”\u003c/p>\n\u003cp>Jamieson declined to discuss the cutbacks, calling the layoffs “unfortunate decisions.” Previously the manager of long-running punk band NOFX, Jamieson said the venue owners, a group including Boz Scaggs, hired him last year. “I was brought on separate from Goldenvoice,” he said.\u003c/p>\n\u003cp>Scaggs, the famed musician and songwriter who founded Slim’s, appears to be stepping back from the venues himself. In a 2017 document he was listed as the sole director of his company, Big Billy Inc. But his name doesn’t appear on the corporation’s most recent statement of information, which lists directors Jamieson plus David Fortune and Alexander Levy.\u003c/p>\n\u003cp>Pinkerton said she still has plenty of clients, and added that losing Slim’s and GAMH gives her more time to spend with her husband during his second bout with cancer. She also stressed her sympathy for Buck and Harrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were professionals,” she said. “They were also warm and kind people, which is rare these days in the music business.”\u003c/p>\n\n","blocks":[],"excerpt":"The Los Angeles-based concert giant pushes further into the Bay Area—while laying off more workers at local venues.","status":"publish","parent":0,"modified":1705026646,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":781},"headData":{"title":"Slim’s, Great American Music Hall Workers Axed as Goldenvoice Expands | KQED","description":"The Los Angeles-based concert giant pushes further into the Bay Area—while laying off more workers at local venues.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Slim’s, Great American Music Hall Workers Axed as Goldenvoice Expands","datePublished":"2019-02-06T17:00:30.000Z","dateModified":"2024-01-12T02:30:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://od1.kqed.org/anon.kqed/radio/thebay/2019/03/LocalMusicFINAL1.mp3","sticky":false,"path":"/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1988, Bill Graham’s former assistant Queenie Taylor hired Tanya Pinkerton to help publicize events and distribute concert listings for a new venue called Slim’s. In 2000, when Slim’s acquired the Great American Music Hall, Pinkerton gladly added the historic venue to her client list.\u003c/p>\n\u003cp>But a year after Slim’s and the Great American Music Hall inked a booking agreement with corporate promoter Goldenvoice, Pinkerton was recently told her work is redundant.\u003c/p>\n\u003cp>She was let go in January, shortly after manager Dana Smith and promoter Tracey Buck were also laid off. Goldenvoice, Pinkerton was told by email, already had concert listings covered. “What’s funny is, after 30 years I decided to increase my price, by about $15 a month,” she said. “So finally I got the chutzpah to ask for a raise, and I was fired instead.”\u003c/p>\n\u003cp>The layoffs came one year after Slim’s and GAMH, for years considered two of the city’s flagship independent venues, \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\" target=\"_blank\" rel=\"noopener\">outsourced booking\u003c/a> to Goldenvoice, the Coachella promoter that, like competitor Live Nation, has dramatically expanded in the Bay Area. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Based in Los Angeles, Goldenvoice first entered San Francisco when it \u003ca href=\"https://www.sfgate.com/bayarea/article/Battle-of-the-Bay-Area-concert-promoters-3278473.php\" target=\"_blank\" rel=\"noopener\">took over\u003c/a> the Warfield and the Regency Ballroom in 2008. Last year, it launched the Blurry Vision music festival in Oakland. Recently the company also announced a concert series at Stanford University’s Frost Amphitheater. With Slim’s and GAMH, Goldenvoice now runs concert promotions at every level—from a small club to a large festival—in the Bay Area.\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 company is not without controversy. AEG, Goldenvoice’s parent company, is owned by Philip Anschutz, a multibillionaire conservative philanthropist with \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\" target=\"_blank\" rel=\"noopener\">an anti-LGBTQ record\u003c/a>. Corporate saturation of the local concert market is also detrimental, critics say, to a healthy local scene of independent venues and promoters, as well as local bands and fans.\u003c/p>\n\u003cp>Jamie Zawinski, the owner of Slim’s neighbor DNA Lounge, is among the local music industry figures sounding the alarm about Goldenvoice and Live Nation. In response to the Slim’s and GAMH partnership, he wrote a \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">widely shared blog post\u003c/a> arguing that the companies’ expansive concert and ticketing holdings are monopolistic and “bad for our culture as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13846954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg\" alt=\"Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters’ expansion in San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinkerton likened her relationship with Slim’s and GAMH workers to a familial bond, calling them friends and a steady source of referrals. It was a tight-knit operation that \u003ca href=\"http://www.ampthemag.com/the-real/dawn-holliday-im-not-retiring-im-resisting/\" target=\"_blank\" rel=\"noopener\">until 2017\u003c/a> was overseen by talent buyer Dawn Holliday, who last year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707&showFullText=true\">called\u003c/a> the Goldenvoice partnership a “great source of sadness.”\u003c/p>\n\u003cp>Since Goldenvoice took over the calendars, venue management left its SoMa office. Anthony Bedard, the junior talent buyer and longtime Hemlock Tavern booker, was let go early last year. The most recent layoffs, according to Pinkerton, reflect Goldenvoice’s regional workers taking on more promotions and marketing duties for the venues.\u003c/p>\n\u003cp>Pinkerton said Buck and Smith, who declined to be interviewed, were laid off Monday, Jan. 7, and cleared out that day. The next Tuesday, Pinkerton received an email from Kent Jamieson, the venues’ new general manager, saying the partnership with Goldenvoice made her company, Bay Area Entertainment Listings, a “redundancy.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It was crappy,” she said. “After 30 years I would’ve liked to have been told in person.”\u003c/p>\n\u003cp>Jamieson declined to discuss the cutbacks, calling the layoffs “unfortunate decisions.” Previously the manager of long-running punk band NOFX, Jamieson said the venue owners, a group including Boz Scaggs, hired him last year. “I was brought on separate from Goldenvoice,” he said.\u003c/p>\n\u003cp>Scaggs, the famed musician and songwriter who founded Slim’s, appears to be stepping back from the venues himself. In a 2017 document he was listed as the sole director of his company, Big Billy Inc. But his name doesn’t appear on the corporation’s most recent statement of information, which lists directors Jamieson plus David Fortune and Alexander Levy.\u003c/p>\n\u003cp>Pinkerton said she still has plenty of clients, and added that losing Slim’s and GAMH gives her more time to spend with her husband during his second bout with cancer. She also stressed her sympathy for Buck and Harrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were professionals,” she said. “They were also warm and kind people, which is rare these days in the music business.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands","authors":["11091"],"categories":["arts_69","arts_235"],"tags":["arts_1118","arts_3875","arts_2187","arts_3219","arts_6387","arts_746","arts_1146","arts_3278"],"featImg":"arts_13846930","label":"arts"},"arts_13846754":{"type":"posts","id":"arts_13846754","meta":{"index":"posts_1591205157","site":"arts","id":"13846754","score":null,"sort":[1544559839000]},"guestAuthors":[],"slug":"in-2018-corporate-monotony-seized-san-francisco-music-venues","title":"In 2018, Corporate Monotony Seized San Francisco Music Venues","publishDate":1544559839,"format":"standard","headTitle":"In 2018, Corporate Monotony Seized San Francisco Music Venues | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cp>When news broke in January of corporate promoter Goldenvoice assuming control of booking concerts at both Slim’s and the Great American Music Hall, Jamie Zawinski was dismayed. The DNA Lounge owner had long looked to Slim’s, his neighbor on 11th Street in SoMa, as a model independent music venue in San Francisco. “They were the example,” he said of the 500-capacity club founded in 1988. “If Slim’s can’t make it work anymore, who can?”\u003c/p>\n\u003cp>Zawinski also realized that few people, not even his own employees, knew the extent of local music venues’ corporate consolidation, or of its effects on the remaining independents.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.dnalounge.com/backstage/log/2018/01/31.html\">blog post\u003c/a>, Zawinski tallied the rooms controlled by Goldenvoice, Live Nation and local competitor Another Planet Entertainment, arguing that the companies’ “vertically integrated” club and festival holdings, along with ticketing services, provides a monopolistic advantage. Zawinski also included a list of 18 independently owned and operated clubs, hoping to encourage readers to patronize venues that aren’t what he recently called “fronts for chains.” [contextly_sidebar id=”ZMlm6piZqqTvtCF9CH62CaDbK8rKOpHO”]\u003c/p>\n\u003cp>But less than a year later, three of those 18 independent clubs have shuttered or announced impending closure. (The co-owner of another, Brick & Mortar Music Hall, was \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\">accused\u003c/a> of threatening and assaulting homeless people.) The closures of the Hemlock Tavern, Elbo Room and Mezzanine all involve plans for redevelopment—the latter venue’s landlord plainly \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\">told\u003c/a> KQED that Mezzanine doesn’t earn him as much as offices.\u003c/p>\n\u003cfigure id=\"attachment_13816998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg\" alt=\"The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated 'Hemlock Tavern.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated ‘Hemlock Tavern.’ \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Zawinski, Slim’s and GAMH ceding to Goldenvoice is practically the loss of two civic treasures. Other industry figures agree, lamenting the takeover as if the venues had shut down outright.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It isn’t that San Franciscans aren’t interested in concerts; corporate promoters taking over clubs and launching new festivals itself illustrates tremendous demand. But stakeholders say the erosion of the independent venue ecosystem, which follows the virtual disappearance of the city’s underground DIY spaces, diminishes the concert experience for attendee and performer alike. [contextly_sidebar id=”B5Qqcmv9noLlwMFVR5jPGj5XhaR6wgY2″]\u003c/p>\n\u003cp>In San Francisco, the 1960s counterculture pioneered multimedia concerts, presaged the modern music festival, and birthed the nationally recognized Bill Graham Presents, which trained a generation of local promoters. Today, though, Live Nation owns what was once Graham’s flagship venue, The Fillmore. And Slim’s and the Great American, long booked by a Graham protégé, are run by a company, Goldenvoice, whose corporate parent is owned by a \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\">right-wing philanthropist\u003c/a>.\u003c/p>\n\u003cp>Goldenvoice and Live Nation’s diversified businesses—the latter made $2.1 billion in ticketing \u003cem>fees\u003c/em> last year alone, according to its shareholder report—are so anticompetitive, they’ve prompted criticism from legislators on antitrust grounds. Artists, too, have cried foul: In the 2000s, indie singer-songwriter Conor Oberst of Bright Eyes boycotted venues affiliated with Live Nation predecessor Clear Channel.\u003c/p>\n\u003cfigure id=\"attachment_13846930\" class=\"wp-caption aligncenter\" style=\"max-width: 789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg\" alt=\"This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s.\" width=\"789\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg 789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-768x657.jpg 768w\" sizes=\"(max-width: 789px) 100vw, 789px\">\u003cfigcaption class=\"wp-caption-text\">This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With national venue infrastructures, the companies can book entire tours, or entice groups away from competitors with the possibility of future festival appearances, effectively shutting out independents such as DNA Lounge. For example, Zawinski said he lost an act he’d booked several times previously to what he called a “corporate-owned” venue just a week before we spoke. “They reluctantly made it clear it was about getting a shot at a festival,” he said.\u003c/p>\n\u003cp>Undercutting independent venues’ in-house talent buyers also tends to deprive show-goers of a well-curated slate of local openers, not to mention lessening all-local lineups. As a talent-buyer since 2002, Anthony Bedard built the Hemlock’s reputation as a rocker haunt, and early last year he landed a job booking the Great American Music Hall. This past year, though, he lost both gigs: first after Goldenvoice’s GAMH partnership, and then ahead of the Hemlock’s demolition.\u003c/p>\n\u003cfigure id=\"attachment_10746787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10746787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg\" alt=\"Anthony Bedard booked the Hemlock Tavern for 16 years. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bedard booked the Hemlock Tavern for 16 years. \u003ccite>(Julie Michelle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bedard’s work is inflected with fandom. At the Hemlock, he took risks promoting emerging or underground acts, building a record of ear-to-the-street discernment and prescience that landed him roles at Great American, however short lived, and Hardly Strictly Bluegrass.\u003c/p>\n\u003cp>His corporate successors at Great American Music Hall, by contrast, aren’t even pretending to support grassroots music scenes in San Francisco. Earlier this year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">I asked Danny Bell\u003c/a>, a Goldenvoice talent buyer in San Francisco, if Great American patrons should expect the sort of local programming that Bedard brought to the venue.\u003c/p>\n\u003cp>“Is it a priority? It’s tough to say,” Bell said. “I think it just naturally happens.”\u003c/p>\n\u003cp>In Chicago, local club owners recently rallied to oppose the inclusion of several Live Nation-run venues in a new waterfront development, saying city tax incentives on the project effectively subsidized their corporate competitors. Bedard and Zawinski aren’t sure political organizing is a solution. “Even if a venue is thriving, there’s the looming question of how much more the landlord can make by redeveloping the property,” Bedard said. “It’s bigger than the music industry.” [contextly_sidebar id=”nTimG1VOgOCzHFYgnzRjwmQgTsdDMHVj”]\u003c/p>\n\u003cp>Even the San Francisco Entertainment Commission, a government body tasked with regulating and promoting nightlife, sounds defeated by the cascade of closures and corporatization. Discussing news of Mezzanine’s ouster at a hearing last month, the commissioners bemoaned “greed,” and wondered if some other city officials could “put some pressure on the landlord.”\u003c/p>\n\u003cfigure id=\"attachment_13831544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8562-1-800x533.jpg\" alt=\"The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For music venue success stories, you’d have to expand the definition of “music venue” to accommodate the broader performing arts. Counterpulse, the Center for New Music, The Lab (which is currently \u003ca href=\"http://www.sfexaminer.com/mission-nonprofit-seeks-buy-historic-redstone-building-keep-tenants-place/\">rallying\u003c/a> to buy its building), and the Grand Theater have all opened or reopened since 2013, and this past year provided crucial outlets for improvised, experimental, and electronic music. But their shared nonprofit status, involving heavy reliance on grant support, illustrates the difficulty of subsisting on a traditional mix of ticket and drink sales.\u003c/p>\n\u003cp>There are reasons for optimism. Noise Pop, the booking outfit with close ties to Another Planet, will bring dozens of shows to independent venues—including the Swedish American Hall, Rickshaw Stop and Bottom of the Hill—as part of its decentralized annual festival in February and March. And Bedard, rebounding from the loss of two jobs, months ago launched Talent Moat, bringing choice lineups to independent venues including Thee Parkside, the Chapel and the Knockout.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for another in-house talent buyer position, Bedard had to make the bittersweet transition to the East Bay. (Likewise, the Elbo Room this year opened an Oakland location.) He recently started booking the Ivy Room in Albany, where the new ownership’s enthusiasm, along with the service-industry worker clientele, reminds him of the Hemlock in the mid-2000s. “The takeover hasn’t done me in,” he said. “My shows hit the calendar in January.”\u003c/p>\n\n","blocks":[],"excerpt":"Independent venues continue to struggle, diminishing concerts for attendees and performers.","status":"publish","parent":0,"modified":1705026878,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1264},"headData":{"title":"In 2018, Corporate Monotony Seized San Francisco Music Venues | KQED","description":"Independent venues continue to struggle, diminishing concerts for attendees and performers.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In 2018, Corporate Monotony Seized San Francisco Music Venues","datePublished":"2018-12-11T20:23:59.000Z","dateModified":"2024-01-12T02:34:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://od1.kqed.org/anon.kqed/radio/thebay/2019/03/LocalMusicFINAL1.mp3","sticky":false,"audioTrackLength":577,"path":"/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When news broke in January of corporate promoter Goldenvoice assuming control of booking concerts at both Slim’s and the Great American Music Hall, Jamie Zawinski was dismayed. The DNA Lounge owner had long looked to Slim’s, his neighbor on 11th Street in SoMa, as a model independent music venue in San Francisco. “They were the example,” he said of the 500-capacity club founded in 1988. “If Slim’s can’t make it work anymore, who can?”\u003c/p>\n\u003cp>Zawinski also realized that few people, not even his own employees, knew the extent of local music venues’ corporate consolidation, or of its effects on the remaining independents.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.dnalounge.com/backstage/log/2018/01/31.html\">blog post\u003c/a>, Zawinski tallied the rooms controlled by Goldenvoice, Live Nation and local competitor Another Planet Entertainment, arguing that the companies’ “vertically integrated” club and festival holdings, along with ticketing services, provides a monopolistic advantage. Zawinski also included a list of 18 independently owned and operated clubs, hoping to encourage readers to patronize venues that aren’t what he recently called “fronts for chains.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But less than a year later, three of those 18 independent clubs have shuttered or announced impending closure. (The co-owner of another, Brick & Mortar Music Hall, was \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\">accused\u003c/a> of threatening and assaulting homeless people.) The closures of the Hemlock Tavern, Elbo Room and Mezzanine all involve plans for redevelopment—the latter venue’s landlord plainly \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\">told\u003c/a> KQED that Mezzanine doesn’t earn him as much as offices.\u003c/p>\n\u003cfigure id=\"attachment_13816998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg\" alt=\"The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated 'Hemlock Tavern.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated ‘Hemlock Tavern.’ \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Zawinski, Slim’s and GAMH ceding to Goldenvoice is practically the loss of two civic treasures. Other industry figures agree, lamenting the takeover as if the venues had shut down outright.\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>It isn’t that San Franciscans aren’t interested in concerts; corporate promoters taking over clubs and launching new festivals itself illustrates tremendous demand. But stakeholders say the erosion of the independent venue ecosystem, which follows the virtual disappearance of the city’s underground DIY spaces, diminishes the concert experience for attendee and performer alike. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In San Francisco, the 1960s counterculture pioneered multimedia concerts, presaged the modern music festival, and birthed the nationally recognized Bill Graham Presents, which trained a generation of local promoters. Today, though, Live Nation owns what was once Graham’s flagship venue, The Fillmore. And Slim’s and the Great American, long booked by a Graham protégé, are run by a company, Goldenvoice, whose corporate parent is owned by a \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\">right-wing philanthropist\u003c/a>.\u003c/p>\n\u003cp>Goldenvoice and Live Nation’s diversified businesses—the latter made $2.1 billion in ticketing \u003cem>fees\u003c/em> last year alone, according to its shareholder report—are so anticompetitive, they’ve prompted criticism from legislators on antitrust grounds. Artists, too, have cried foul: In the 2000s, indie singer-songwriter Conor Oberst of Bright Eyes boycotted venues affiliated with Live Nation predecessor Clear Channel.\u003c/p>\n\u003cfigure id=\"attachment_13846930\" class=\"wp-caption aligncenter\" style=\"max-width: 789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg\" alt=\"This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s.\" width=\"789\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg 789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-768x657.jpg 768w\" sizes=\"(max-width: 789px) 100vw, 789px\">\u003cfigcaption class=\"wp-caption-text\">This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With national venue infrastructures, the companies can book entire tours, or entice groups away from competitors with the possibility of future festival appearances, effectively shutting out independents such as DNA Lounge. For example, Zawinski said he lost an act he’d booked several times previously to what he called a “corporate-owned” venue just a week before we spoke. “They reluctantly made it clear it was about getting a shot at a festival,” he said.\u003c/p>\n\u003cp>Undercutting independent venues’ in-house talent buyers also tends to deprive show-goers of a well-curated slate of local openers, not to mention lessening all-local lineups. As a talent-buyer since 2002, Anthony Bedard built the Hemlock’s reputation as a rocker haunt, and early last year he landed a job booking the Great American Music Hall. This past year, though, he lost both gigs: first after Goldenvoice’s GAMH partnership, and then ahead of the Hemlock’s demolition.\u003c/p>\n\u003cfigure id=\"attachment_10746787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10746787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg\" alt=\"Anthony Bedard booked the Hemlock Tavern for 16 years. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bedard booked the Hemlock Tavern for 16 years. \u003ccite>(Julie Michelle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bedard’s work is inflected with fandom. At the Hemlock, he took risks promoting emerging or underground acts, building a record of ear-to-the-street discernment and prescience that landed him roles at Great American, however short lived, and Hardly Strictly Bluegrass.\u003c/p>\n\u003cp>His corporate successors at Great American Music Hall, by contrast, aren’t even pretending to support grassroots music scenes in San Francisco. Earlier this year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">I asked Danny Bell\u003c/a>, a Goldenvoice talent buyer in San Francisco, if Great American patrons should expect the sort of local programming that Bedard brought to the venue.\u003c/p>\n\u003cp>“Is it a priority? It’s tough to say,” Bell said. “I think it just naturally happens.”\u003c/p>\n\u003cp>In Chicago, local club owners recently rallied to oppose the inclusion of several Live Nation-run venues in a new waterfront development, saying city tax incentives on the project effectively subsidized their corporate competitors. Bedard and Zawinski aren’t sure political organizing is a solution. “Even if a venue is thriving, there’s the looming question of how much more the landlord can make by redeveloping the property,” Bedard said. “It’s bigger than the music industry.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Even the San Francisco Entertainment Commission, a government body tasked with regulating and promoting nightlife, sounds defeated by the cascade of closures and corporatization. Discussing news of Mezzanine’s ouster at a hearing last month, the commissioners bemoaned “greed,” and wondered if some other city officials could “put some pressure on the landlord.”\u003c/p>\n\u003cfigure id=\"attachment_13831544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8562-1-800x533.jpg\" alt=\"The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For music venue success stories, you’d have to expand the definition of “music venue” to accommodate the broader performing arts. Counterpulse, the Center for New Music, The Lab (which is currently \u003ca href=\"http://www.sfexaminer.com/mission-nonprofit-seeks-buy-historic-redstone-building-keep-tenants-place/\">rallying\u003c/a> to buy its building), and the Grand Theater have all opened or reopened since 2013, and this past year provided crucial outlets for improvised, experimental, and electronic music. But their shared nonprofit status, involving heavy reliance on grant support, illustrates the difficulty of subsisting on a traditional mix of ticket and drink sales.\u003c/p>\n\u003cp>There are reasons for optimism. Noise Pop, the booking outfit with close ties to Another Planet, will bring dozens of shows to independent venues—including the Swedish American Hall, Rickshaw Stop and Bottom of the Hill—as part of its decentralized annual festival in February and March. And Bedard, rebounding from the loss of two jobs, months ago launched Talent Moat, bringing choice lineups to independent venues including Thee Parkside, the Chapel and the Knockout.\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>But for another in-house talent buyer position, Bedard had to make the bittersweet transition to the East Bay. (Likewise, the Elbo Room this year opened an Oakland location.) He recently started booking the Ivy Room in Albany, where the new ownership’s enthusiasm, along with the service-industry worker clientele, reminds him of the Hemlock in the mid-2000s. “The takeover hasn’t done me in,” he said. “My shows hit the calendar in January.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues","authors":["11091"],"series":["arts_6139"],"categories":["arts_1","arts_69"],"tags":["arts_6192","arts_1118","arts_3875","arts_2187","arts_3219","arts_746","arts_596"],"featImg":"arts_13846954","label":"arts_6139"},"arts_13843529":{"type":"posts","id":"arts_13843529","meta":{"index":"posts_1591205157","site":"arts","id":"13843529","score":null,"sort":[1540508009000]},"guestAuthors":[],"slug":"a-selfie-at-your-polling-place-is-your-ticket-to-shows-at-the-chapel-and-gamh","title":"A Selfie at Your Polling Place is Your Ticket to Shows at The Chapel and GAMH","publishDate":1540508009,"format":"standard","headTitle":"A Selfie at Your Polling Place is Your Ticket to Shows at The Chapel and GAMH | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Everyone loves to take selfies with the “I Voted” sticker they get from the polls, and now that selfie can grant you free entry to over 78 concerts happening in 32 states—two of which are in San Francisco.\u003c/p>\n\u003cp>Ty Segall, Playboi Carti, Superchunk and a host of other musicians have donated a limited number of free tickets to a campaign called \u003ca href=\"https://www.ivotedconcerts.com/shows/\" target=\"_blank\" rel=\"noopener\">#iVoted\u003c/a>, which aims to mobilize millennial voters. Participating events in the Bay Area include indie rocker \u003ca href=\"https://www.ivotedconcerts.com/shows/\" target=\"_blank\" rel=\"noopener\">Gus Dapperton’s show\u003c/a> with Beshken at The Chapel and stoner rockers \u003ca href=\"https://slimspresents.com/event/fu-manchu-gamh/\" target=\"_blank\" rel=\"noopener\">Fu Man Chu with Mos Generator\u003c/a> at The Great American Music Hall.\u003c/p>\n\u003cp>Both shows take place on election day, Nov. 6. To enter the raffle for free entry, take a photo at your polling place and tag \u003ca href=\"https://www.instagram.com/ivotedconcerts/\" target=\"_blank\" rel=\"noopener\">@ivotedconcerts\u003c/a> on Instagram, and check the \u003ca href=\"https://www.ivotedconcerts.com/shows/\" target=\"_blank\" rel=\"noopener\">iVoted\u003c/a> website for additional rules.\u003c/p>\n\u003cp>https://youtu.be/QrVl7mgVSg0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A selfie at your polling place could get you a free ticket to see Gus Dapperton or Fu Man Chu.","status":"publish","parent":0,"modified":1705027091,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":150},"headData":{"title":"A Selfie at Your Polling Place is Your Ticket to Shows at The Chapel and GAMH | KQED","description":"A selfie at your polling place could get you a free ticket to see Gus Dapperton or Fu Man Chu.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Selfie at Your Polling Place is Your Ticket to Shows at The Chapel and GAMH","datePublished":"2018-10-25T22:53:29.000Z","dateModified":"2024-01-12T02:38:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13843529/a-selfie-at-your-polling-place-is-your-ticket-to-shows-at-the-chapel-and-gamh","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everyone loves to take selfies with the “I Voted” sticker they get from the polls, and now that selfie can grant you free entry to over 78 concerts happening in 32 states—two of which are in San Francisco.\u003c/p>\n\u003cp>Ty Segall, Playboi Carti, Superchunk and a host of other musicians have donated a limited number of free tickets to a campaign called \u003ca href=\"https://www.ivotedconcerts.com/shows/\" target=\"_blank\" rel=\"noopener\">#iVoted\u003c/a>, which aims to mobilize millennial voters. Participating events in the Bay Area include indie rocker \u003ca href=\"https://www.ivotedconcerts.com/shows/\" target=\"_blank\" rel=\"noopener\">Gus Dapperton’s show\u003c/a> with Beshken at The Chapel and stoner rockers \u003ca href=\"https://slimspresents.com/event/fu-manchu-gamh/\" target=\"_blank\" rel=\"noopener\">Fu Man Chu with Mos Generator\u003c/a> at The Great American Music Hall.\u003c/p>\n\u003cp>Both shows take place on election day, Nov. 6. To enter the raffle for free entry, take a photo at your polling place and tag \u003ca href=\"https://www.instagram.com/ivotedconcerts/\" target=\"_blank\" rel=\"noopener\">@ivotedconcerts\u003c/a> on Instagram, and check the \u003ca href=\"https://www.ivotedconcerts.com/shows/\" target=\"_blank\" rel=\"noopener\">iVoted\u003c/a> website for additional rules.\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/QrVl7mgVSg0'\n title='//www.youtube.com/embed/QrVl7mgVSg0'\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13843529/a-selfie-at-your-polling-place-is-your-ticket-to-shows-at-the-chapel-and-gamh","authors":["11387"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_2187","arts_6387","arts_596"],"featImg":"arts_13843544","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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