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Aretha's Bridge
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Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>[aside postID='arts_13950877']During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so authentic and sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day said on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n","blocks":[],"excerpt":"Playing 'American Idiot' and 'Saviors' back-to-back, the band thrived in the small venue for a hometown crowd.","status":"publish","parent":0,"modified":1712690254,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1031},"headData":{"title":"Live Review: Green Day Thrills the Fillmore In an Intimate Two-Hour Show | KQED","description":"Playing 'American Idiot' and 'Saviors' back-to-back, the band thrived in the small venue for a hometown crowd.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Live Review: Green Day Thrills the Fillmore In an Intimate Two-Hour Show","datePublished":"2024-04-03T10:22:40.000Z","dateModified":"2024-04-09T19:17:34.000Z","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/13955312/review-green-day-fillmore-photos-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \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>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so authentic and sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day said on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955312/review-green-day-fillmore-photos-san-francisco","authors":["185"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_9964","arts_10278","arts_1543","arts_22057","arts_769","arts_1146","arts_2996"],"featImg":"arts_13955323","label":"arts"},"arts_13954236":{"type":"posts","id":"arts_13954236","meta":{"index":"posts_1591205157","site":"arts","id":"13954236","score":null,"sort":[1710782337000]},"guestAuthors":[],"slug":"photographer-david-johnson-obituary-san-francisco-black-culture","title":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","publishDate":1710782337,"format":"standard","headTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>[aside postID='arts_13950886']Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>[aside postID='news_11957757']“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Johnson’s candid photographs captured daily life and historic moments, including the 1963 March on Washington. ","status":"publish","parent":0,"modified":1710782439,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1070},"headData":{"title":"David Johnson, Photographer of Black Culture, Dies at 97 | KQED","description":"Johnson’s candid photographs captured daily life and historic moments, including the 1963 March on Washington. ","ogTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","ogDescription":"","ogImgId":"","twTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","twDescription":"","twImgId":"","socialTitle":"David Johnson, Photographer of Black Culture, Dies at 97 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","datePublished":"2024-03-18T17:18:57.000Z","dateModified":"2024-03-18T17:20:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"photographer-david-johnson-who-chronicled-san-franciscos-black-culture-dies-at-97","nprByline":"Chloe Veltman","nprImageAgency":"Peg Skorpinski","nprStoryId":"1239005042","nprApiLink":"http://api.npr.org/query?id=1239005042&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/17/1239005042/photographer-david-johnson-san-francisco-black-culture-dead?ft=nprml&f=1239005042","nprRetrievedStory":"1","nprPubDate":"Sun, 17 Mar 2024 05:00:00 -0400","nprStoryDate":"Sun, 17 Mar 2024 05:00:44 -0400","nprLastModifiedDate":"Sun, 17 Mar 2024 05:00:44 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954236/photographer-david-johnson-obituary-san-francisco-black-culture","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950886","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11957757","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954236/photographer-david-johnson-obituary-san-francisco-black-culture","authors":["byline_arts_13954236"],"categories":["arts_1","arts_835","arts_1564","arts_70"],"tags":["arts_1091","arts_822","arts_1146","arts_2996"],"featImg":"arts_13954238","label":"arts"},"arts_13935406":{"type":"posts","id":"arts_13935406","meta":{"index":"posts_1591205157","site":"arts","id":"13935406","score":null,"sort":[1695771145000]},"guestAuthors":[],"slug":"fillmore-live-nation-on-road-again-touring-artists","title":"The Fillmore Will Stop Taking a Cut of Artists’ Merch Sales","publishDate":1695771145,"format":"standard","headTitle":"The Fillmore Will Stop Taking a Cut of Artists’ Merch Sales | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Over 75 clubs operated by Live Nation in the United States and Canada will stop taking a percentage of artist merch sales, and will pay performers an additional $1,500 travel stipend per concert, through an initiative called \u003ca href=\"https://roadagain.live/\">On the Road Again\u003c/a>, the company announced Tuesday.\u003c/p>\n\u003cp>In the Bay Area, only one Live Nation venue is included in the program: \u003ca href=\"https://www.livenation.com/venue/KovZpZAE6eeA/the-fillmore-events\">The Fillmore\u003c/a>, the historic, 1,315-capacity concert hall. For over 30 years, artists playing at The Fillmore “counted in” their T-shirts, albums and other merch, and, at the end of the show, “counted out” so the club could tally the night’s income and calculate the amount of profit to take.\u003c/p>\n\u003cp>\u003ca href=\"https://weareumaw.org/\">United Musicians and Allied Workers\u003c/a> (UMAW), an artist advocacy group, says it’s common for venues to take 15%-35% of merch sales, and some artists have reported fees as high as 40% at recent shows. [aside postid='arts_13857471']\u003c/p>\n\u003cp>On the Road Again also promises bonuses for tour staff and local promoters, and will contribute $5 million to Crew Nation, a global relief fund for live music crews facing hardship. Additional Live Nation venues in the Bay Area, including the Masonic, are not listed as participants. Statewide, 14 similarly sized clubs are included in the program, including The Wiltern in Los Angeles and Ace of Spades in Sacramento.\u003c/p>\n\u003cp>The initiative arrives at a challenging time for artists in today’s music industry, where visibility and acclaim do not translate to financial success. While Spotify and other streaming services pay \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">fractions of pennies per stream\u003c/a>, touring and merch sales have become the primary source of income for emerging and mid-level musicians. After a pandemic that decimated live concerts, artists have struggled to rebound due to inflation and high gas prices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s almost impossible to even break even as a touring artist at this level,” says San Francisco singer and multi-instrumentalist \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a>, whose upcoming tour includes a hometown show at \u003ca href=\"https://concerts.livenation.com/la-dona-san-francisco-california-11-09-2023/event/1C005F0FC26A52EC\">The Fillmore on Nov. 9\u003c/a>, as well as shows at participating clubs in Los Angeles and Santa Ana. She says her expenses include hiring a live band, merch handler and photographer, and paying for gas, touring vehicles and lodging. While La Doña handles many business aspects of her tour herself, it’s common for artists to pay booking agents, tour managers and publicists. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“O\u003c/span>ftentimes you can’t really get an offer that will support all of that,” she says. “Most artists \u003cspan style=\"font-weight: 400\">—\u003c/span> I know I do \u003cspan style=\"font-weight: 400\">—\u003c/span> usually end up paying out of pocket to go on tour, which is why you don’t do it very much.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For La Doña, merch sales are critical, and can account for up to a third of the money made each night. She hopes that On the Road Again will inspire more venues to let artists keep the profits from their merch tables, which would allow more diverse acts to succeed in the industry. “Y\u003c/span>ou don’t really get to see some of the best and most interesting musicians live because it’s tough to be on the road,” she notes.\u003c/p>\n\u003cp>[aside postid='arts_13934286']Some artists say that the economics of the industry have brought them close to quitting altogether. “You are either losing money, breaking even or coming home with such a little amount of money for such a big amount of work,” said Bethany Cosentino of Best Coast in a \u003ca href=\"https://www.tiktok.com/@bethanycosentino/video/7278097326621592878?lang=en\">TikTok video posted on Sept. 12\u003c/a>. “Most days I wake up and I question why I’m still even in this industry. There is no stability.”\u003c/p>\n\u003cp>In 2022, UMAW launched a campaign called \u003ca href=\"https://weareumaw.org/news/mymerch-campaign-launch\">#MyMerch\u003c/a>, through which 160 venues have so far pledged to stop charging artists for merch sales. Many of the venues who signed up for UMAW’s campaign are small businesses also struggling in the post-pandemic economy, such as the \u003ca href=\"https://mystictheatre.com/\">Mystic Theatre\u003c/a> in Petaluma, \u003ca href=\"https://www.cornerstoneberkeley.com/\">Cornerstone\u003c/a> in Berkeley and \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.P2XVsKmY.dpbs\">Bottom of the Hill\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Meanwhile, Live Nation — a global conglomerate that owns Ticketmaster, whose ticket fees have ballooned to record levels — reported in July that its revenue is up 27% this year, reaching $5.6 billion at the end of the most recent financial quarter.\u003c/p>\n\u003cp>[aside postid='forum_2010101892062']“This was our strongest second quarter ever, with 2023 on pace to be a record year, and early indicators for 2024 giving us confidence in continued growth,” said Live Nation Entertainment CEO and President Michael Rapino in a report to investors. (Rapino’s own total compensation for 2022 totaled $139 million.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, live music is clearly profitable — but artists aren’t seeing the payoff. New policies at clubs like the Fillmore could be the start of a change small musicians are asking for. “We hope that more [Live Nation] venues (especially small ones) will join the On the Road Again program,” UMAW wrote in an Instagram post on Tuesday.\u003c/p>\n\n","blocks":[],"excerpt":"Amid record profits, Live Nation, who owns the Fillmore, launched a national program to boost artists' earnings at over 75 of its clubs.","status":"publish","parent":0,"modified":1705003317,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":851},"headData":{"title":"The Fillmore Will Stop Taking a Cut of Artists’ Merch Sales | KQED","description":"Amid record profits, Live Nation, who owns the Fillmore, launched a national program to boost artists' earnings at over 75 of its clubs.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Fillmore Will Stop Taking a Cut of Artists’ Merch Sales","datePublished":"2023-09-26T23:32:25.000Z","dateModified":"2024-01-11T20:01:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"the-fillmore-will-stop-taking-a-cut-of-artists-merch-sales","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13935406/fillmore-live-nation-on-road-again-touring-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 75 clubs operated by Live Nation in the United States and Canada will stop taking a percentage of artist merch sales, and will pay performers an additional $1,500 travel stipend per concert, through an initiative called \u003ca href=\"https://roadagain.live/\">On the Road Again\u003c/a>, the company announced Tuesday.\u003c/p>\n\u003cp>In the Bay Area, only one Live Nation venue is included in the program: \u003ca href=\"https://www.livenation.com/venue/KovZpZAE6eeA/the-fillmore-events\">The Fillmore\u003c/a>, the historic, 1,315-capacity concert hall. For over 30 years, artists playing at The Fillmore “counted in” their T-shirts, albums and other merch, and, at the end of the show, “counted out” so the club could tally the night’s income and calculate the amount of profit to take.\u003c/p>\n\u003cp>\u003ca href=\"https://weareumaw.org/\">United Musicians and Allied Workers\u003c/a> (UMAW), an artist advocacy group, says it’s common for venues to take 15%-35% of merch sales, and some artists have reported fees as high as 40% at recent shows. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13857471","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the Road Again also promises bonuses for tour staff and local promoters, and will contribute $5 million to Crew Nation, a global relief fund for live music crews facing hardship. Additional Live Nation venues in the Bay Area, including the Masonic, are not listed as participants. Statewide, 14 similarly sized clubs are included in the program, including The Wiltern in Los Angeles and Ace of Spades in Sacramento.\u003c/p>\n\u003cp>The initiative arrives at a challenging time for artists in today’s music industry, where visibility and acclaim do not translate to financial success. While Spotify and other streaming services pay \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">fractions of pennies per stream\u003c/a>, touring and merch sales have become the primary source of income for emerging and mid-level musicians. After a pandemic that decimated live concerts, artists have struggled to rebound due to inflation and high gas prices.\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>“\u003cspan style=\"font-weight: 400\">It’s almost impossible to even break even as a touring artist at this level,” says San Francisco singer and multi-instrumentalist \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a>, whose upcoming tour includes a hometown show at \u003ca href=\"https://concerts.livenation.com/la-dona-san-francisco-california-11-09-2023/event/1C005F0FC26A52EC\">The Fillmore on Nov. 9\u003c/a>, as well as shows at participating clubs in Los Angeles and Santa Ana. She says her expenses include hiring a live band, merch handler and photographer, and paying for gas, touring vehicles and lodging. While La Doña handles many business aspects of her tour herself, it’s common for artists to pay booking agents, tour managers and publicists. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“O\u003c/span>ftentimes you can’t really get an offer that will support all of that,” she says. “Most artists \u003cspan style=\"font-weight: 400\">—\u003c/span> I know I do \u003cspan style=\"font-weight: 400\">—\u003c/span> usually end up paying out of pocket to go on tour, which is why you don’t do it very much.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For La Doña, merch sales are critical, and can account for up to a third of the money made each night. She hopes that On the Road Again will inspire more venues to let artists keep the profits from their merch tables, which would allow more diverse acts to succeed in the industry. “Y\u003c/span>ou don’t really get to see some of the best and most interesting musicians live because it’s tough to be on the road,” she notes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934286","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Some artists say that the economics of the industry have brought them close to quitting altogether. “You are either losing money, breaking even or coming home with such a little amount of money for such a big amount of work,” said Bethany Cosentino of Best Coast in a \u003ca href=\"https://www.tiktok.com/@bethanycosentino/video/7278097326621592878?lang=en\">TikTok video posted on Sept. 12\u003c/a>. “Most days I wake up and I question why I’m still even in this industry. There is no stability.”\u003c/p>\n\u003cp>In 2022, UMAW launched a campaign called \u003ca href=\"https://weareumaw.org/news/mymerch-campaign-launch\">#MyMerch\u003c/a>, through which 160 venues have so far pledged to stop charging artists for merch sales. Many of the venues who signed up for UMAW’s campaign are small businesses also struggling in the post-pandemic economy, such as the \u003ca href=\"https://mystictheatre.com/\">Mystic Theatre\u003c/a> in Petaluma, \u003ca href=\"https://www.cornerstoneberkeley.com/\">Cornerstone\u003c/a> in Berkeley and \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.P2XVsKmY.dpbs\">Bottom of the Hill\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Meanwhile, Live Nation — a global conglomerate that owns Ticketmaster, whose ticket fees have ballooned to record levels — reported in July that its revenue is up 27% this year, reaching $5.6 billion at the end of the most recent financial quarter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101892062","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“This was our strongest second quarter ever, with 2023 on pace to be a record year, and early indicators for 2024 giving us confidence in continued growth,” said Live Nation Entertainment CEO and President Michael Rapino in a report to investors. (Rapino’s own total compensation for 2022 totaled $139 million.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, live music is clearly profitable — but artists aren’t seeing the payoff. New policies at clubs like the Fillmore could be the start of a change small musicians are asking for. “We hope that more [Live Nation] venues (especially small ones) will join the On the Road Again program,” UMAW wrote in an Instagram post on Tuesday.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935406/fillmore-live-nation-on-road-again-touring-artists","authors":["11387"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_10589","arts_10278","arts_3219","arts_2996","arts_18635"],"featImg":"arts_13935418","label":"arts"},"arts_13920900":{"type":"posts","id":"arts_13920900","meta":{"index":"posts_1591205157","site":"arts","id":"13920900","score":null,"sort":[1666809813000]},"guestAuthors":[],"slug":"once-booming-where-are-the-blues-in-san-francisco-now","title":"Once Booming, Where Are the Blues in San Francisco Now?","publishDate":1666809813,"format":"standard","headTitle":"Once Booming, Where Are the Blues in San Francisco Now? | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>No take on San Francisco is more clichéd than proclaiming that the year of one’s arrival was a golden age from which the city has steadily descended, shedding its luster with each passing season. And when it comes to the city’s blues scene, one can make a righteous case for any decade in the latter half of the 20th century as a high-water mark.\u003c/p>\n\u003cp>But by God, the mid-1990s, when I just happened to move to the Bay Area, was an extraordinary moment for the blues in San Francisco, an era reigned over by one of the fiercest artists ever to walk the earth, John Lee Hooker.\u003c/p>\n\u003cp>A potent artifact from that long-gone moment arrives Friday with the Craft Recordings reissue of Hooker’s epochal 1989 hit album \u003cem>The Healer\u003c/em>, which reignited his career amidst a gaudy cast of guest artists eager to bask in his sharkskin-suited glory, including Carlos Santana, George Thorogood, Los Lobos, Canned Heat, Charlie Musselwhite and Robert Cray.\u003c/p>\n\u003cp>Out of print for the past decade, the album not only earned the 73-year-old guitarist, vocalist and songwriter his first Grammy Award (for the Bonnie Raitt duet “I’m in the Mood”), it put Hooker at the center of the scene when the blues still occupied a significant swath of the cultural terrain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0n6fctAUjX4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hooker went on to make several more popular albums also produced by slide guitarist Roy Rogers, while various labels excavated his vast discography, which got off to a brilliant start with his chart-topping 1948 single “Boogie Chillen.” His iconic status continued to grow over the next decade with his 1991 induction into the Rock and Roll Hall of Fame and his Grammy Lifetime Achievement Award in 2000.\u003c/p>\n\u003ch2>National icon, local legend\u003c/h2>\n\u003cp>Locally, Hooker’s star hung over the Fillmore, where Alexander Andreas rechristened a nightspot long known as Jack’s Tavern as the Boom Boom Room, in honor of Hooker’s signature 1962 hit, “Boom Boom.” Contrary to the widespread belief that Hooker owned a piece of the club, Andreas made him an honorary partner, and many a night he could be found behind a red velvet rope in his reserved booth, surrounded by a bevy of ladies and a coterie of musicians. Occasionally a brave fan might approach to pay homage.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13876143,arts_13809453,arts_13897443\"]Robert Cray, who toured widely with Hooker as an opening act and appeared on \u003cem>The Healer\u003c/em>’s funky third track “Baby Lee,” recalled the scene on the Boom Boom Room’s opening night, when the club was packed with dozens of other musicians, television crews and Mayor Willie Brown.\u003c/p>\n\u003cp>“The impact of \u003cem>The Healer\u003c/em> was huge, and then when the Boom Boom Room opened it meant people knew where to find him,” Cray said. “John always seemed to me to have this great attitude about everything. He always had people around who adored him. It was a really exciting time. Carlos and Bonnie Raitt would pop in. We played the San Francisco Blues Festival, the Sacramento Blues Festival and all the clubs in San Francisco and the South Bay. It was pretty live.”\u003c/p>\n\u003cp>As late as the 1990s, the blues scene was still inextricably linked to the frisson around the Fillmore Auditorium in the 1960s — when a rising generation of white Chicago transplants (including Paul Butterfield, Barry Goldberg, Elvin Bishop and Mike Bloomfield) all prevailed upon Bill Graham to present the Black masters who’d mentored them on the Southside (particularly Howlin’ Wolf, Muddy Waters and B.B. King). It’s a story well-told in filmmaker Bob Sarles’ 2021 documentary \u003ca href=\"https://www.youtube.com/watch?v=A8X1n58B9Dw\">\u003cem>Born in Chicago\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The 1960s also saw Hooker connecting with the blues-besotted cohort of young British musicians on the swinging London scene, and it’s no coincidence that the Yardbirds, the Spencer Davis Group and the Animals all recorded his songs. He moved to Oakland late in the decade and worked steadily, with a particularly fruitful collaboration with Canned Heat. When \u003cem>The Healer\u003c/em> put him back on top, he took it all in stride.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nUUyFrHERpU\u003c/p>\n\u003cp>Bassist Ruth Davies, who recorded with Hooker on several albums following \u003cem>The Healer\u003c/em>, remembers one celebratory night at the Boom Boom Room after he’d won two Grammys for his 1997 album \u003cem>Don’t Look Back\u003c/em>, which was co-produced by Van Morrison. He spotted her in the club and motioned for her to join him.\u003c/p>\n\u003cp>“I felt so privileged,” said Davies (who performs \u003ca href=\"https://secure.thefreight.org/11704/pamela-rose-presents-blues-is-a-woman\">Nov. 19 at Freight & Salvage\u003c/a> backing Pamela Rose’s \u003cem>Blues Is a Woman\u003c/em>). Before Davies started working with Hooker, she gained prominence during her long tenure with West Coast blues legend Charles Brown, and went on to tour and record with guitarist Elvin Bishop’s band.\u003c/p>\n\u003cp>“A lot of the blues legends were living here around that time,” Davies said. “Etta James, Charlie Musselwhite and Elvin Bishop were here. Bonnie Raitt was in Marin, and she did so much to help revive Charles Brown’s career.\u003c/p>\n\u003cfigure id=\"attachment_13920970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg\" alt=\"an older Black man in a hat and sungalsses next to a white woman with bangs in a dark suit in a club\" width=\"800\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1536x1418.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-2048x1891.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1920x1773.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Lee Hooker and Ruth Davies in Hooker’s booth at the Boom Boom Room. \u003ccite>(Courtesy of Ruth Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But it wasn’t just the scene here. Traveling was easier. When I started touring with Charles, we did a lot of concerts and festivals, and it seemed like there were three tiers. There were the stars who got paid the most. The middle tier — Charles was in that group. And the local artists. That middle tier is gone,” she said, along with the post-World War II generation of innovators. (Now 86, guitar legend Buddy Guy recently announced a farewell tour in 2023.)\u003c/p>\n\u003ch2>A shifting center of gravity\u003c/h2>\n\u003cp>The infrastructure that sustained the scene has also all but disappeared, with nothing arising to fill the void left by the end of the San Francisco Blues Festival, a major annual event that ran from 1973-2008. The city’s dwindling Black population is another challenge, but the story is similar all over the region. Oakland long boasted a more vital and influential blues scene than San Francisco, anchoring an East Bay soul archipelago that stretched from Richmond and Berkeley out to Camp Stoneman in Pittsburg, and almost all of the clubs and joints that once hosted the blues are gone.\u003c/p>\n\u003cp>Still, the music’s inextricable roots in Black culture continue to manifest in various guises. \u003ca href=\"https://www.fayecarol.com/\">The Dynamic Miss Faye Carol\u003c/a> provides an essential link to the glory days of the East Bay scenes wherever she performs (like her\u003ca href=\"https://secure.thefreight.org/11867/black-womens-roots-festival\"> Black Women’s Roots Festival\u003c/a>, Nov. 27 at Freight & Salvage). Oakland blues vocalist Terrie Odabi has carved out an international career over the past decade, and some of the Bay Area’s best jazz vocalists, like Kim Nalley and Tiffany Austin, make a point of including blues as an essential thread in jazz’s elastic fabric. \u003ca href=\"http://littlevillagefoundation.com/\">The Little Village Foundation\u003c/a> label, created by veteran blues keyboardist and John Lee Hooker sideman Jim Pugh, has boosted the careers of several Bay Area blues artists, like Mumbai-born harmonica player Aki Kumar.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W2EG6svjz0w\u003c/p>\n\u003cp>Meanwhile, the music’s center of gravity continues to shift away from San Francisco. Yoshi’s keeps blues in the musical mix, with shows like the Nov. 21 \u003ca href=\"https://yoshis.com/events/buy-tickets/bay-area-harmonica-convergence-1/detail\">Bay Area Harmonica Convergence\u003c/a>. Norwegian-born San Jose guitarist and recording engineer Kid Andersen has turned his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> into the top spot for Bay Area blues acts to document their music (while working hand-in-hand with Little Village). San Jose’s \u003ca href=\"https://poorhousebistro.com/\">Poor House Bistro\u003c/a> just relocated — literally the entire building — to Little Italy, to make way for Google’s massive new downtown development. Blues great Angela Strehli’s \u003ca href=\"https://www.ranchonicasio.com/\">Rancho Nicasio\u003c/a> is an important outpost in the North Bay, while the biggest blues bills tend to take place at Vallejo’s Empress Theatre.\u003c/p>\n\u003cp>“It’s the same thing in Seattle,” Cray said. “There used to be a bunch of clubs in town. Now we always hit the outskirts, where there might be the theaters and some of the clubs. We’re not downtown in places where it used it happen.”\u003c/p>\n\u003cp>In San Francisco, Myron Mu has kept \u003ca href=\"http://sfblues.weebly.com/saloon-schedule.html\">The Saloon in North Beach\u003c/a>, the city’s oldest venue, in business presenting blues seven nights a week. The city’s premiere club, \u003ca href=\"https://biscuitsandblues.com/\">Biscuits & Blues\u003c/a>, still hasn’t reopened since it was forced to shutter in 2019 by a persistent plumbing problem and an ensuing legal struggle with the neighboring Jack In the Box — but that might finally be coming to an end, said owner Steven Suen said. More than optimistic, he sounded downright philosophic about a musical tradition born out of a need to find solace and communal release in hard times.\u003c/p>\n\u003cp>“The blues as a form of music will never die,” said Suen, who was born in Hong Kong and ended up buying the club after he started managing the venue in 2006. “People keep going back to the roots, figuring out how that music comes about. It will always have a place. It’s not a popular thing, but once people experience it they’ll find something special.”\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":"A new reissue of John Lee Hooker's 1989 album 'The Healer' recalls the city's active blues scene.","status":"publish","parent":0,"modified":1705006229,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1606},"headData":{"title":"Once Booming, Where Are the Blues in San Francisco Now? | KQED","description":"A new reissue of John Lee Hooker's 1989 album 'The Healer' recalls the city's active blues scene.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Once Booming, Where Are the Blues in San Francisco Now?","datePublished":"2022-10-26T18:43:33.000Z","dateModified":"2024-01-11T20:50:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13920900/once-booming-where-are-the-blues-in-san-francisco-now","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>No take on San Francisco is more clichéd than proclaiming that the year of one’s arrival was a golden age from which the city has steadily descended, shedding its luster with each passing season. And when it comes to the city’s blues scene, one can make a righteous case for any decade in the latter half of the 20th century as a high-water mark.\u003c/p>\n\u003cp>But by God, the mid-1990s, when I just happened to move to the Bay Area, was an extraordinary moment for the blues in San Francisco, an era reigned over by one of the fiercest artists ever to walk the earth, John Lee Hooker.\u003c/p>\n\u003cp>A potent artifact from that long-gone moment arrives Friday with the Craft Recordings reissue of Hooker’s epochal 1989 hit album \u003cem>The Healer\u003c/em>, which reignited his career amidst a gaudy cast of guest artists eager to bask in his sharkskin-suited glory, including Carlos Santana, George Thorogood, Los Lobos, Canned Heat, Charlie Musselwhite and Robert Cray.\u003c/p>\n\u003cp>Out of print for the past decade, the album not only earned the 73-year-old guitarist, vocalist and songwriter his first Grammy Award (for the Bonnie Raitt duet “I’m in the Mood”), it put Hooker at the center of the scene when the blues still occupied a significant swath of the cultural terrain.\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/0n6fctAUjX4'\n title='//www.youtube.com/embed/0n6fctAUjX4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hooker went on to make several more popular albums also produced by slide guitarist Roy Rogers, while various labels excavated his vast discography, which got off to a brilliant start with his chart-topping 1948 single “Boogie Chillen.” His iconic status continued to grow over the next decade with his 1991 induction into the Rock and Roll Hall of Fame and his Grammy Lifetime Achievement Award in 2000.\u003c/p>\n\u003ch2>National icon, local legend\u003c/h2>\n\u003cp>Locally, Hooker’s star hung over the Fillmore, where Alexander Andreas rechristened a nightspot long known as Jack’s Tavern as the Boom Boom Room, in honor of Hooker’s signature 1962 hit, “Boom Boom.” Contrary to the widespread belief that Hooker owned a piece of the club, Andreas made him an honorary partner, and many a night he could be found behind a red velvet rope in his reserved booth, surrounded by a bevy of ladies and a coterie of musicians. Occasionally a brave fan might approach to pay homage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"arts_13876143,arts_13809453,arts_13897443"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Robert Cray, who toured widely with Hooker as an opening act and appeared on \u003cem>The Healer\u003c/em>’s funky third track “Baby Lee,” recalled the scene on the Boom Boom Room’s opening night, when the club was packed with dozens of other musicians, television crews and Mayor Willie Brown.\u003c/p>\n\u003cp>“The impact of \u003cem>The Healer\u003c/em> was huge, and then when the Boom Boom Room opened it meant people knew where to find him,” Cray said. “John always seemed to me to have this great attitude about everything. He always had people around who adored him. It was a really exciting time. Carlos and Bonnie Raitt would pop in. We played the San Francisco Blues Festival, the Sacramento Blues Festival and all the clubs in San Francisco and the South Bay. It was pretty live.”\u003c/p>\n\u003cp>As late as the 1990s, the blues scene was still inextricably linked to the frisson around the Fillmore Auditorium in the 1960s — when a rising generation of white Chicago transplants (including Paul Butterfield, Barry Goldberg, Elvin Bishop and Mike Bloomfield) all prevailed upon Bill Graham to present the Black masters who’d mentored them on the Southside (particularly Howlin’ Wolf, Muddy Waters and B.B. King). It’s a story well-told in filmmaker Bob Sarles’ 2021 documentary \u003ca href=\"https://www.youtube.com/watch?v=A8X1n58B9Dw\">\u003cem>Born in Chicago\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The 1960s also saw Hooker connecting with the blues-besotted cohort of young British musicians on the swinging London scene, and it’s no coincidence that the Yardbirds, the Spencer Davis Group and the Animals all recorded his songs. He moved to Oakland late in the decade and worked steadily, with a particularly fruitful collaboration with Canned Heat. When \u003cem>The Healer\u003c/em> put him back on top, he took it all in stride.\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/nUUyFrHERpU'\n title='//www.youtube.com/embed/nUUyFrHERpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bassist Ruth Davies, who recorded with Hooker on several albums following \u003cem>The Healer\u003c/em>, remembers one celebratory night at the Boom Boom Room after he’d won two Grammys for his 1997 album \u003cem>Don’t Look Back\u003c/em>, which was co-produced by Van Morrison. He spotted her in the club and motioned for her to join him.\u003c/p>\n\u003cp>“I felt so privileged,” said Davies (who performs \u003ca href=\"https://secure.thefreight.org/11704/pamela-rose-presents-blues-is-a-woman\">Nov. 19 at Freight & Salvage\u003c/a> backing Pamela Rose’s \u003cem>Blues Is a Woman\u003c/em>). Before Davies started working with Hooker, she gained prominence during her long tenure with West Coast blues legend Charles Brown, and went on to tour and record with guitarist Elvin Bishop’s band.\u003c/p>\n\u003cp>“A lot of the blues legends were living here around that time,” Davies said. “Etta James, Charlie Musselwhite and Elvin Bishop were here. Bonnie Raitt was in Marin, and she did so much to help revive Charles Brown’s career.\u003c/p>\n\u003cfigure id=\"attachment_13920970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg\" alt=\"an older Black man in a hat and sungalsses next to a white woman with bangs in a dark suit in a club\" width=\"800\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1536x1418.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-2048x1891.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1920x1773.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Lee Hooker and Ruth Davies in Hooker’s booth at the Boom Boom Room. \u003ccite>(Courtesy of Ruth Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But it wasn’t just the scene here. Traveling was easier. When I started touring with Charles, we did a lot of concerts and festivals, and it seemed like there were three tiers. There were the stars who got paid the most. The middle tier — Charles was in that group. And the local artists. That middle tier is gone,” she said, along with the post-World War II generation of innovators. (Now 86, guitar legend Buddy Guy recently announced a farewell tour in 2023.)\u003c/p>\n\u003ch2>A shifting center of gravity\u003c/h2>\n\u003cp>The infrastructure that sustained the scene has also all but disappeared, with nothing arising to fill the void left by the end of the San Francisco Blues Festival, a major annual event that ran from 1973-2008. The city’s dwindling Black population is another challenge, but the story is similar all over the region. Oakland long boasted a more vital and influential blues scene than San Francisco, anchoring an East Bay soul archipelago that stretched from Richmond and Berkeley out to Camp Stoneman in Pittsburg, and almost all of the clubs and joints that once hosted the blues are gone.\u003c/p>\n\u003cp>Still, the music’s inextricable roots in Black culture continue to manifest in various guises. \u003ca href=\"https://www.fayecarol.com/\">The Dynamic Miss Faye Carol\u003c/a> provides an essential link to the glory days of the East Bay scenes wherever she performs (like her\u003ca href=\"https://secure.thefreight.org/11867/black-womens-roots-festival\"> Black Women’s Roots Festival\u003c/a>, Nov. 27 at Freight & Salvage). Oakland blues vocalist Terrie Odabi has carved out an international career over the past decade, and some of the Bay Area’s best jazz vocalists, like Kim Nalley and Tiffany Austin, make a point of including blues as an essential thread in jazz’s elastic fabric. \u003ca href=\"http://littlevillagefoundation.com/\">The Little Village Foundation\u003c/a> label, created by veteran blues keyboardist and John Lee Hooker sideman Jim Pugh, has boosted the careers of several Bay Area blues artists, like Mumbai-born harmonica player Aki Kumar.\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/W2EG6svjz0w'\n title='//www.youtube.com/embed/W2EG6svjz0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, the music’s center of gravity continues to shift away from San Francisco. Yoshi’s keeps blues in the musical mix, with shows like the Nov. 21 \u003ca href=\"https://yoshis.com/events/buy-tickets/bay-area-harmonica-convergence-1/detail\">Bay Area Harmonica Convergence\u003c/a>. Norwegian-born San Jose guitarist and recording engineer Kid Andersen has turned his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> into the top spot for Bay Area blues acts to document their music (while working hand-in-hand with Little Village). San Jose’s \u003ca href=\"https://poorhousebistro.com/\">Poor House Bistro\u003c/a> just relocated — literally the entire building — to Little Italy, to make way for Google’s massive new downtown development. Blues great Angela Strehli’s \u003ca href=\"https://www.ranchonicasio.com/\">Rancho Nicasio\u003c/a> is an important outpost in the North Bay, while the biggest blues bills tend to take place at Vallejo’s Empress Theatre.\u003c/p>\n\u003cp>“It’s the same thing in Seattle,” Cray said. “There used to be a bunch of clubs in town. Now we always hit the outskirts, where there might be the theaters and some of the clubs. We’re not downtown in places where it used it happen.”\u003c/p>\n\u003cp>In San Francisco, Myron Mu has kept \u003ca href=\"http://sfblues.weebly.com/saloon-schedule.html\">The Saloon in North Beach\u003c/a>, the city’s oldest venue, in business presenting blues seven nights a week. The city’s premiere club, \u003ca href=\"https://biscuitsandblues.com/\">Biscuits & Blues\u003c/a>, still hasn’t reopened since it was forced to shutter in 2019 by a persistent plumbing problem and an ensuing legal struggle with the neighboring Jack In the Box — but that might finally be coming to an end, said owner Steven Suen said. More than optimistic, he sounded downright philosophic about a musical tradition born out of a need to find solace and communal release in hard times.\u003c/p>\n\u003cp>“The blues as a form of music will never die,” said Suen, who was born in Hong Kong and ended up buying the club after he started managing the venue in 2006. “People keep going back to the roots, figuring out how that music comes about. It will always have a place. It’s not a popular thing, but once people experience it they’ll find something special.”\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/13920900/once-booming-where-are-the-blues-in-san-francisco-now","authors":["86"],"categories":["arts_1","arts_69"],"tags":["arts_638","arts_10342","arts_5732","arts_2996","arts_4107"],"featImg":"arts_13920896","label":"arts"},"arts_13874853":{"type":"posts","id":"arts_13874853","meta":{"index":"posts_1591205157","site":"arts","id":"13874853","score":null,"sort":[1582916450000]},"guestAuthors":[],"slug":"the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore","title":"The Queen of the 'Harlem of the West' Brought Glamour and Stars to the Fillmore","publishDate":1582916450,"format":"standard","headTitle":"The Queen of the ‘Harlem of the West’ Brought Glamour and Stars to the Fillmore | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>She was considered the Queen of the Fillmore, back when the neighborhood was still nicknamed the “Harlem of the West.” She was one of the \u003ca href=\"http://beyondchron.org/heard-fillmore-icon-leola-king-passes/\" target=\"_blank\" rel=\"noopener noreferrer\">first women of color\u003c/a> to ever own and run a Bay Area nightclub. And when the San Francisco Redevelopment Agency came for her crown, Leola King fought back, over and over again.\u003c/p>\n\u003cp>King arrived in San Francisco from Los Angeles in 1946, at the age of 27. She would call the Fillmore home for the next 64 years. Her most famous venture, the Blue Mirror Cocktail Lounge—famous for hosting jazz greats like Louis Armstrong and Dinah Washington—came only after King had brought people from all over the city to the Fillmore via her barbecue pit.\u003c/p>\n\u003cp>Oklahoma King’s was named for her birth state, lovingly constructed at 1601 Geary out of a log cabin, and featured a smoke pit that was visible to outside foot traffic. The \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">meat on King’s menu\u003c/a>, including smoked buffalo, deer and quail, was so popular that she often worked around the clock, sometimes opening at 10am and not closing until 4am the next day.\u003c/p>\n\u003cp>“I was busy all day, all night, lines outside,” she told the \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oral History Archives Project\u003c/a> in 2007. “On Cathedral Hill, coming down the hill, I had a tall, about a 50-foot smoke stack that put the aroma in the air that was just terrific, and people would drive around trying to find the place where this beautiful smell was coming from.”\u003c/p>\n\u003cp>At the end of 1947, when the City Planning Commission submitted a \u003ca href=\"https://smartgrowth.org/how-urban-renewal-destroyed-the-fillmore-in-order-to-save-it/\" target=\"_blank\" rel=\"noopener noreferrer\">$52 million proposal\u003c/a> for rebuilding a 36-block zone enclosed by Van Ness, Webster, McAllister and Geary, King began to be regularly approached by the San Francisco Redevelopment Agency. By her own estimation, King told them the restaurant wasn’t for sale “three or four times.” One morning when she arrived to open up, she was greeted by the sight of a bulldozer—and an empty space where Oklahoma King’s used to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They just come in and bulldoze it to the ground,” she recalled. “Took all my equipment, stuff that I’d paid for, and all of my foods and everything. I don’t know what happened to anything. When I go there, the lot is clear; there’s nothing on it. So that made me have to go to the hospital. I just was so upset.” King was later \u003ca href=\"https://www.harlemofthewestsf.com/fillmore-people/bios-interviews/leola-king/\" target=\"_blank\" rel=\"noopener noreferrer\">reimbursed\u003c/a> what she’d paid for the land, but not for the structure, equipment or business—in all, a fraction of what Oklahoma King’s was actually worth. [aside postid='pop_110017']\u003c/p>\n\u003cp>After the initial shock had subsided, King’s unbreakable tenacity drove her to open the Blue Mirror in 1953. “It was fantastic, a beautiful club,” \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>, “and it was hot, hot, hot.” The club, at 935 Fillmore Street, was smaller than the other popular neighborhood venues at the time—like \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Sullivan’s Fillmore Ballroom\u003c/a>—but attracted the same level of talent. Lena Horne, Ray Charles, Duke Ellington, Count Basie and Cab Calloway were just a few musicians that passed through, and she counted Josephine Baker, Nat “King” Cole, Elizabeth Taylor and boxing legend Sugar Ray Robinson as friends.\u003c/p>\n\u003cp>Bobbie Webb, a saxophonist who performed there with the likes of B.B. King and T-Bone Walker, \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2007\u003c/a> that it wasn’t just the luxurious decor and excellent music that attracted people to the Blue Mirror—it was King herself. “She didn’t only have a personality, she was a beautiful lady,” he reminisced. “All she had to do was stand there.”\u003c/p>\n\u003cp>After almost a decade of running one of the hottest clubs in town, \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">King later claimed\u003c/a> she was warned by neighborhood police that the Redevelopment Agency was using unscrupulous means to acquire buildings. According to her, one day a man and a child arrived at the club, asking if the youngster could use the bathroom. After the bouncer allowed them in, the man bought an alcoholic drink and handed it to the child. “Well, we didn’t even know the kid was in the place,” King recalled. “So that’s how they took my license. They came in and padlocked my door and completely put me out of business.” [aside postid='pop_108474']\u003c/p>\n\u003cp>Against the odds, King bounced back yet again, opening the Bird Cage in 1964. The tavern, decked out in stained glass and bright colors, was open between the hours of 10am and 10pm at 1505 Fillmore Street. Like the Blue Mirror, the venue found popularity quickly, thanks in no small part to its lunch counter, famous for King’s fried chicken and fish.\u003c/p>\n\u003cp>Though King selected the location in the hope that it was deep enough in the neighborhood to remain untouched by redevelopment, after a decade of success, once again the agency bought her venue’s building and, in 1974, evicted all tenants. King refused to go quietly this time, having to be forcibly removed by the sheriff. She spent the next quarter century \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">fighting\u003c/a> the Redevelopment Agency over relocation terms.\u003c/p>\n\u003cp>Leola King eventually declared bankruptcy in the late ’90s, lost her mansion at 711 Scott St., and never quite managed to complete the opening of a new bar named Goldie’s. But her grace and poise in the face of relentless losses, her indomitable spirit, and the joy she brought to the neighborhood are the things people remember most about her.\u003c/p>\n\u003cp>As Lance Burton, founder of \u003ca href=\"https://planetfillmore.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet Fillmore Communications\u003c/a>, who grew up in the Fillmore and remembers King in her heyday \u003ca href=\"https://sfbayview.com/2015/02/legendary-queen-of-fillmore-leola-king-leaves-proud-legacy-of-struggle-against-redevelopment/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote after her death\u003c/a> in 2015: “Mrs. King was like a big movie star to many of us, a star who brought some very bright moments to our community—maybe the most golden period of years ever to have been seen in San Francisco by black folks before or since… Mrs. King gave our people a chance to dress up and shine in a Sunday evening of glory.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In the Fillmore, Leola King was one of the first women of color to own and run a Bay Area nightclub.","status":"publish","parent":0,"modified":1705091835,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1064},"headData":{"title":"The Queen of the 'Harlem of the West' Brought Glamour and Stars to the Fillmore | KQED","description":"In the Fillmore, Leola King was one of the first women of color to own and run a Bay Area nightclub.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Queen of the 'Harlem of the West' Brought Glamour and Stars to the Fillmore","datePublished":"2020-02-28T19:00:50.000Z","dateModified":"2024-01-12T20:37:15.000Z","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/a768e15f-7da2-456e-b0fd-ac990132c3d3/audio.mp3 ","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13874853/the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>She was considered the Queen of the Fillmore, back when the neighborhood was still nicknamed the “Harlem of the West.” She was one of the \u003ca href=\"http://beyondchron.org/heard-fillmore-icon-leola-king-passes/\" target=\"_blank\" rel=\"noopener noreferrer\">first women of color\u003c/a> to ever own and run a Bay Area nightclub. And when the San Francisco Redevelopment Agency came for her crown, Leola King fought back, over and over again.\u003c/p>\n\u003cp>King arrived in San Francisco from Los Angeles in 1946, at the age of 27. She would call the Fillmore home for the next 64 years. Her most famous venture, the Blue Mirror Cocktail Lounge—famous for hosting jazz greats like Louis Armstrong and Dinah Washington—came only after King had brought people from all over the city to the Fillmore via her barbecue pit.\u003c/p>\n\u003cp>Oklahoma King’s was named for her birth state, lovingly constructed at 1601 Geary out of a log cabin, and featured a smoke pit that was visible to outside foot traffic. The \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">meat on King’s menu\u003c/a>, including smoked buffalo, deer and quail, was so popular that she often worked around the clock, sometimes opening at 10am and not closing until 4am the next day.\u003c/p>\n\u003cp>“I was busy all day, all night, lines outside,” she told the \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oral History Archives Project\u003c/a> in 2007. “On Cathedral Hill, coming down the hill, I had a tall, about a 50-foot smoke stack that put the aroma in the air that was just terrific, and people would drive around trying to find the place where this beautiful smell was coming from.”\u003c/p>\n\u003cp>At the end of 1947, when the City Planning Commission submitted a \u003ca href=\"https://smartgrowth.org/how-urban-renewal-destroyed-the-fillmore-in-order-to-save-it/\" target=\"_blank\" rel=\"noopener noreferrer\">$52 million proposal\u003c/a> for rebuilding a 36-block zone enclosed by Van Ness, Webster, McAllister and Geary, King began to be regularly approached by the San Francisco Redevelopment Agency. By her own estimation, King told them the restaurant wasn’t for sale “three or four times.” One morning when she arrived to open up, she was greeted by the sight of a bulldozer—and an empty space where Oklahoma King’s used to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They just come in and bulldoze it to the ground,” she recalled. “Took all my equipment, stuff that I’d paid for, and all of my foods and everything. I don’t know what happened to anything. When I go there, the lot is clear; there’s nothing on it. So that made me have to go to the hospital. I just was so upset.” King was later \u003ca href=\"https://www.harlemofthewestsf.com/fillmore-people/bios-interviews/leola-king/\" target=\"_blank\" rel=\"noopener noreferrer\">reimbursed\u003c/a> what she’d paid for the land, but not for the structure, equipment or business—in all, a fraction of what Oklahoma King’s was actually worth. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_110017","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the initial shock had subsided, King’s unbreakable tenacity drove her to open the Blue Mirror in 1953. “It was fantastic, a beautiful club,” \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>, “and it was hot, hot, hot.” The club, at 935 Fillmore Street, was smaller than the other popular neighborhood venues at the time—like \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Sullivan’s Fillmore Ballroom\u003c/a>—but attracted the same level of talent. Lena Horne, Ray Charles, Duke Ellington, Count Basie and Cab Calloway were just a few musicians that passed through, and she counted Josephine Baker, Nat “King” Cole, Elizabeth Taylor and boxing legend Sugar Ray Robinson as friends.\u003c/p>\n\u003cp>Bobbie Webb, a saxophonist who performed there with the likes of B.B. King and T-Bone Walker, \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2007\u003c/a> that it wasn’t just the luxurious decor and excellent music that attracted people to the Blue Mirror—it was King herself. “She didn’t only have a personality, she was a beautiful lady,” he reminisced. “All she had to do was stand there.”\u003c/p>\n\u003cp>After almost a decade of running one of the hottest clubs in town, \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">King later claimed\u003c/a> she was warned by neighborhood police that the Redevelopment Agency was using unscrupulous means to acquire buildings. According to her, one day a man and a child arrived at the club, asking if the youngster could use the bathroom. After the bouncer allowed them in, the man bought an alcoholic drink and handed it to the child. “Well, we didn’t even know the kid was in the place,” King recalled. “So that’s how they took my license. They came in and padlocked my door and completely put me out of business.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_108474","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Against the odds, King bounced back yet again, opening the Bird Cage in 1964. The tavern, decked out in stained glass and bright colors, was open between the hours of 10am and 10pm at 1505 Fillmore Street. Like the Blue Mirror, the venue found popularity quickly, thanks in no small part to its lunch counter, famous for King’s fried chicken and fish.\u003c/p>\n\u003cp>Though King selected the location in the hope that it was deep enough in the neighborhood to remain untouched by redevelopment, after a decade of success, once again the agency bought her venue’s building and, in 1974, evicted all tenants. King refused to go quietly this time, having to be forcibly removed by the sheriff. She spent the next quarter century \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">fighting\u003c/a> the Redevelopment Agency over relocation terms.\u003c/p>\n\u003cp>Leola King eventually declared bankruptcy in the late ’90s, lost her mansion at 711 Scott St., and never quite managed to complete the opening of a new bar named Goldie’s. But her grace and poise in the face of relentless losses, her indomitable spirit, and the joy she brought to the neighborhood are the things people remember most about her.\u003c/p>\n\u003cp>As Lance Burton, founder of \u003ca href=\"https://planetfillmore.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet Fillmore Communications\u003c/a>, who grew up in the Fillmore and remembers King in her heyday \u003ca href=\"https://sfbayview.com/2015/02/legendary-queen-of-fillmore-leola-king-leaves-proud-legacy-of-struggle-against-redevelopment/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote after her death\u003c/a> in 2015: “Mrs. King was like a big movie star to many of us, a star who brought some very bright moments to our community—maybe the most golden period of years ever to have been seen in San Francisco by black folks before or since… Mrs. King gave our people a chance to dress up and shine in a Sunday evening of glory.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874853/the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore","authors":["11242"],"programs":["arts_8978"],"categories":["arts_835","arts_7862"],"tags":["arts_1806","arts_21841","arts_2996"],"featImg":"arts_13875531","label":"arts_8978"},"arts_13869576":{"type":"posts","id":"arts_13869576","meta":{"index":"posts_1591205157","site":"arts","id":"13869576","score":null,"sort":[1573151088000]},"guestAuthors":[],"slug":"the-do-list-listen-to-this-weeks-picks-including-copyslut-an-immi-pop-up-and-more","title":"The Do List: Listen to This Week's Picks, Including Copyslut, an Immi Pop-Up and More","publishDate":1573151088,"format":"audio","headTitle":"The Do List: Listen to This Week’s Picks, Including Copyslut, an Immi Pop-Up and More | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Grace Cheung, Pendarvis Harshaw and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Richard Thompson\u003c/strong>: We start our picks this week with a guy who only has 10 fingers—but plays guitar like he’s got 20. If you’ve never been to one of Richard Thompson’s shows, we can’t recommend it enough—he’s smart, funny, and a master storyteller with his between-song patter. “\u003ca href=\"https://www.youtube.com/watch?v=MOCZwKmjR6E\" rel=\"noopener noreferrer\" target=\"_blank\">1952 Black Vincent Lightning\u003c/a>” belongs in the Library of Congress as one of the all-time great love songs, and he even usually does a segment in his shows called “1,000 Years of Popular Music,” where he plays songs, yes, stretching back a thousand years. Richard Thompson plays Thursday, Nov. 7, at the Fillmore in San Francisco, and the next night, Nov. 8, at the Rio Theater in Santa Cruz. \u003ca href=\"https://www.richardthompson-music.com/tour-dates\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Immi/Tartine Pop-Up Dinner\u003c/strong>: This Sunday, local institution Tartine Manufactory teams up with a pop-up called \u003ca href=\"https://www.instagram.com/immi.sf/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Immi\u003c/a> (short for immigrant) for a special dinner collaboration. The founders of Immi bring foods they remember from their childhood to the table, with influences from their experience in professional kitchens like State Bird Provisions—they’ve done a rice pilaf dish, for example, that was inspired by a family recipe, but with a modern twist. At this next pop-up, based on hints from social media, it looks like scallion pancakes, long life noodles and Tartine country bread panzanella with an Immi stir fry are all hints of what’s to come. That’s Sunday, Nov. 10, at Tartine Manufactory. \u003ca href=\"https://www.opentable.com/s/?covers=2&dateTime=2019-11-10%2019%3A00&enableSimpleCuisines=true&includeTicketedAvailability=true&metroId=4&pageType=0&pinnedRids%5B0%5D=252190®ionIds=5&userlatitude=37.7795&userlongitude=-122.4195\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oakland Game Fest ’19\u003c/strong>: Have you ever wanted to test your gaming prowess against E-40? At Oakland Game Fest ’19, select attendees will get the change to play video games against a who’s-who of local stars, including E-40, Mistah FAB, Ryan Nicole, Just Blaze and more. In addition to squaring off against a bunch of young folks in a video game battle royale, they’ll speak on panels and discuss shared wisdom between the rap hustle and the game developer hustle. Happening during AfroTech, it’s a way to “give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says its founder Charlese Banks. That’s on Saturday, Nov. 9, at Esports Arena in Oakland. \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Copyslut and Wizard Apprentice\u003c/strong>: This rock’n’roll quartet puts on a theatrical, campy live show, and musically they sound a little bit like Heart mixed with Sleater-Kinney; they also use their platform to advocate for sex workers. Joining them at this show is Wizard Apprentice, a singer who makes ultra-introspective bedroom pop that’s all about interrogating feelings of jealousy or inadequacy. Their live show is really unusual too—after performing a song, they disappear while a robotic-sounding avatar of them shares something vulnerable about the lyrics. Wizard Apprentice, Copyslut, Louda and Blacker Face perform on Tuesday, Nov. 12, at Bottom of the Hill in San Francisco. \u003ca href=\"http://www.bottomofthehill.com/20191112.html#.XcRYD5JKjdQ\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sylvia Fein\u003c/strong>: When Sylvia Fein isn’t tending to her olive orchard in Martinez, she does what’s made her a nationally known artist: painting egg tempera paintings inspired by surrealism and magical realism. Born in Milwaukee, Fein lived in Mexico City for a while before ultimately settling in the Bay Area. In the 1940s, her work was shown alongside that of Max Ernst and Jackson Pollack at the Whitney Annual—and now, later this month, she’ll turn 100 years old. She’s still vibrant, and working, and will be in person for the opening of her solo show, \u003cem>Sylvia Fein/Matrix275\u003c/em>, on Wednesday, Nov. 13, at BAMPFA in Berkeley. The show runs through March of next year. \u003ca href=\"https://bampfa.org/program/sylvia-fein-matrix-275\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oaktown Jazz Workshops 25th Anniversary\u003c/strong>: Oaktown Jazz Workshops has been training Oakland’s finest young musicians since 1994, and the program has some impressive alumni, including trumpet player Ambrose Akinmusire and bassist \u003ca href=\"https://www.kqed.org/arts/13852456/rightnowish-bassist-aneesa-strings-love-for-music-started-in-oakland-schools\" rel=\"noopener noreferrer\" target=\"_blank\">Aneesa Strings\u003c/a>. Some of its most stellar faculty, alumni, current students and friends perform together at Yoshi’s in Oakland on Nov. 12 to celebrate the organization’s 25th anniversary and raise money for its programming. Pianist and MC Kev Choice saxophonist Richard Howell and Latin jazz star percussionist John Santos are only a few musicians you can expect to see. \u003ca href=\"https://www.eventbrite.com/e/oaktown-jazz-workshops-25th-anniversary-celebration-tickets-66620635113\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Richard Thompson, Oaktown Jazz Workshops, Sylvia Fein and a chance to play video games with E-40 round out our critic's picks.","status":"publish","parent":0,"modified":1708476906,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":796},"headData":{"title":"The Do List: Listen to This Week's Picks, Including Copyslut, an Immi Pop-Up and More | KQED","description":"Richard Thompson, Oaktown Jazz Workshops, Sylvia Fein and a chance to play video games with E-40 round out our critic's picks.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Do List: Listen to This Week's Picks, Including Copyslut, an Immi Pop-Up and More","datePublished":"2019-11-07T18:24:48.000Z","dateModified":"2024-02-21T00:55:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://ww2.kqed.org/podcasts/wp-content/uploads/sites/77/2019/11/The-Do-List-for-Thursday-Nov-7-Wednesday-Nov-13.mp3","sticky":false,"audioTrackLength":161,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13869576/the-do-list-listen-to-this-weeks-picks-including-copyslut-an-immi-pop-up-and-more","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Grace Cheung, Pendarvis Harshaw and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Richard Thompson\u003c/strong>: We start our picks this week with a guy who only has 10 fingers—but plays guitar like he’s got 20. If you’ve never been to one of Richard Thompson’s shows, we can’t recommend it enough—he’s smart, funny, and a master storyteller with his between-song patter. “\u003ca href=\"https://www.youtube.com/watch?v=MOCZwKmjR6E\" rel=\"noopener noreferrer\" target=\"_blank\">1952 Black Vincent Lightning\u003c/a>” belongs in the Library of Congress as one of the all-time great love songs, and he even usually does a segment in his shows called “1,000 Years of Popular Music,” where he plays songs, yes, stretching back a thousand years. Richard Thompson plays Thursday, Nov. 7, at the Fillmore in San Francisco, and the next night, Nov. 8, at the Rio Theater in Santa Cruz. \u003ca href=\"https://www.richardthompson-music.com/tour-dates\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Immi/Tartine Pop-Up Dinner\u003c/strong>: This Sunday, local institution Tartine Manufactory teams up with a pop-up called \u003ca href=\"https://www.instagram.com/immi.sf/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Immi\u003c/a> (short for immigrant) for a special dinner collaboration. The founders of Immi bring foods they remember from their childhood to the table, with influences from their experience in professional kitchens like State Bird Provisions—they’ve done a rice pilaf dish, for example, that was inspired by a family recipe, but with a modern twist. At this next pop-up, based on hints from social media, it looks like scallion pancakes, long life noodles and Tartine country bread panzanella with an Immi stir fry are all hints of what’s to come. That’s Sunday, Nov. 10, at Tartine Manufactory. \u003ca href=\"https://www.opentable.com/s/?covers=2&dateTime=2019-11-10%2019%3A00&enableSimpleCuisines=true&includeTicketedAvailability=true&metroId=4&pageType=0&pinnedRids%5B0%5D=252190®ionIds=5&userlatitude=37.7795&userlongitude=-122.4195\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oakland Game Fest ’19\u003c/strong>: Have you ever wanted to test your gaming prowess against E-40? At Oakland Game Fest ’19, select attendees will get the change to play video games against a who’s-who of local stars, including E-40, Mistah FAB, Ryan Nicole, Just Blaze and more. In addition to squaring off against a bunch of young folks in a video game battle royale, they’ll speak on panels and discuss shared wisdom between the rap hustle and the game developer hustle. Happening during AfroTech, it’s a way to “give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says its founder Charlese Banks. That’s on Saturday, Nov. 9, at Esports Arena in Oakland. \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Copyslut and Wizard Apprentice\u003c/strong>: This rock’n’roll quartet puts on a theatrical, campy live show, and musically they sound a little bit like Heart mixed with Sleater-Kinney; they also use their platform to advocate for sex workers. Joining them at this show is Wizard Apprentice, a singer who makes ultra-introspective bedroom pop that’s all about interrogating feelings of jealousy or inadequacy. Their live show is really unusual too—after performing a song, they disappear while a robotic-sounding avatar of them shares something vulnerable about the lyrics. Wizard Apprentice, Copyslut, Louda and Blacker Face perform on Tuesday, Nov. 12, at Bottom of the Hill in San Francisco. \u003ca href=\"http://www.bottomofthehill.com/20191112.html#.XcRYD5JKjdQ\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sylvia Fein\u003c/strong>: When Sylvia Fein isn’t tending to her olive orchard in Martinez, she does what’s made her a nationally known artist: painting egg tempera paintings inspired by surrealism and magical realism. Born in Milwaukee, Fein lived in Mexico City for a while before ultimately settling in the Bay Area. In the 1940s, her work was shown alongside that of Max Ernst and Jackson Pollack at the Whitney Annual—and now, later this month, she’ll turn 100 years old. She’s still vibrant, and working, and will be in person for the opening of her solo show, \u003cem>Sylvia Fein/Matrix275\u003c/em>, on Wednesday, Nov. 13, at BAMPFA in Berkeley. The show runs through March of next year. \u003ca href=\"https://bampfa.org/program/sylvia-fein-matrix-275\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oaktown Jazz Workshops 25th Anniversary\u003c/strong>: Oaktown Jazz Workshops has been training Oakland’s finest young musicians since 1994, and the program has some impressive alumni, including trumpet player Ambrose Akinmusire and bassist \u003ca href=\"https://www.kqed.org/arts/13852456/rightnowish-bassist-aneesa-strings-love-for-music-started-in-oakland-schools\" rel=\"noopener noreferrer\" target=\"_blank\">Aneesa Strings\u003c/a>. Some of its most stellar faculty, alumni, current students and friends perform together at Yoshi’s in Oakland on Nov. 12 to celebrate the organization’s 25th anniversary and raise money for its programming. Pianist and MC Kev Choice saxophonist Richard Howell and Latin jazz star percussionist John Santos are only a few musicians you can expect to see. \u003ca href=\"https://www.eventbrite.com/e/oaktown-jazz-workshops-25th-anniversary-celebration-tickets-66620635113\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13869576/the-do-list-listen-to-this-weeks-picks-including-copyslut-an-immi-pop-up-and-more","authors":["185"],"programs":["arts_140"],"categories":["arts_835","arts_71","arts_69","arts_70"],"tags":["arts_2227","arts_1118","arts_6387","arts_3710","arts_2996","arts_4149"],"featImg":"arts_13869580","label":"arts_140"},"arts_13868089":{"type":"posts","id":"arts_13868089","meta":{"index":"posts_1591205157","site":"arts","id":"13868089","score":null,"sort":[1570806639000]},"guestAuthors":[],"slug":"the-do-list-life-is-living-janelle-monae-stereolab-and-more","title":"The Do List: Life is Living, Janelle Monáe, Stereolab and More","publishDate":1570806639,"format":"audio","headTitle":"The Do List: Life is Living, Janelle Monáe, Stereolab and More | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Nastia Voynovskaya and Rae Alexandra, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Life Is Living Festival\u003c/strong>: The Life is Living festival is an annual party in the park with a purpose. Their tagline? “Keeping Oakland Oakland Since 2008.” You’ll get live performances from Elle Varner (a marvelous singer who’s been in Oakland before, and who counts \u003ca href=\"https://www.vibe.com/2012/09/michelle-obama-endorses-elle-varner\" rel=\"noopener\" target=\"_blank\">Michelle Obama among her fans\u003c/a>), Shyan’G, Drew Banga and more, plus dance classes, theater, skateboarding, and local vendors. But the important thing this year is the 50th anniversary of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">Black Panthers’ free breakfast program\u003c/a>; from 10 to noon, breakfast is served, including by some of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">very same people\u003c/a> who helped found the program in 1969. The festival runs from 10am–7pm on Saturday, Oct. 12, at Lil Bobby Hutton Park (a.k.a. DeFremery Park) in Oakland. \u003ca href=\"https://lil19.youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Last Black Man in San Francisco’\u003c/strong>: On Friday, Oct. 11, you have a chance to see \u003cem>The Last Black Man in San Francisco\u003c/em>, a movie that wowed audiences earlier this year with its poetic depiction of two black friends trying to carve out space for themselves in the rapidly gentrifying city. It’s playing at PROXY, a free outdoor “walk-in” theater in Hayes Valley, right off of Patricia’s Green. You’ll recognize \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" rel=\"noopener\" target=\"_blank\">Mike Marshall\u003c/a>‘s version of \u003ca href=\"https://www.youtube.com/watch?v=3d3QbwWnLbc\" rel=\"noopener\" target=\"_blank\">this popular song\u003c/a> in the film, and much of the movie’s action takes place in the Fillmore, so this is a rare treat to see it just a few blocks from its setting. That’s Oct. 11, at 6pm. \u003ca href=\"http://proxysf.net/events/2019-proxy-fall-film-fest-the-last-black-man-in-san-francisco/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Janelle Monáe and the Roots\u003c/strong>: Janelle Monáe came to the Mission District a few years back to \u003ca href=\"https://www.kqed.org/arts/10912273/janelle-monae-jidenna-to-perform-sunday-at-mission-district-rally\" rel=\"noopener\" target=\"_blank\">lead a march against police brutality\u003c/a>, and now, she’s coming back—and bringing the Roots with her—for another good cause. A full 100% of the proceeds from this week’s show go to Tipping Point, a nonprofit that fights poverty in the Bay Area by funding organizations doing on-the-ground work to address homelessness and disparities in employment, housing and education. If you haven’t seen Monáe live, she puts on a killer show that celebrates queer black identity through a sci-fi lens. She and the Roots play the Fox Theater in Oakland on Oct. 12. \u003ca href=\"http://thefoxoakland.com/events/janelle-monae\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Tommy Orange\u003c/strong>: Every year, the San Francisco Public Library picks one book for its \u003cem>One City One Book\u003c/em> program. This year, their pick is \u003cem>There There\u003c/em>, by local author Tommy Orange, which tells the story of generations of interconnected Native Americans living in Oakland. Sarah loved this book, and can’t wait for more people to read it so she can talk about it more. Orange speaks at the main branch of the San Francisco Public Library on Wednesday, Oct. 16, at 6pm. \u003ca href=\"https://sfpl.org/?pg=1035343001\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Morbid Desire\u003c/strong>: If you’re one of those people that starts celebrating Halloween the second October starts, the historic Camron-Stanford House in Oakland has an excellent exhibit to get you in the mood. \u003cem>Morbid Desire\u003c/em> has been running annually for the last four years, and is all about the strange, dark world of Victorian mourning customs. It’s a little bit different each year—this time around, the focus is on funeral rites—but it’s always educational, and always entertaining. For Rae, the best part is the fashion; particularly the \u003cem>memento mori\u003c/em> jewelry, much of which contains braided human hair and other things you probably wouldn’t want to touch. There are three tours of the exhibit every Sunday in October, and the Camron-Stanford staff are incredibly knowledgeable and enthusiastic, so it’s always a fun, if rather gothic, way to spend the afternoon. \u003ca href=\"https://cshouse.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Darius Jones\u003c/strong>: Here’s a chance to see a rising saxophone star from New York who’s been praised all over the country for his innovative, poetic use of the instrument. Don’t expect easy listening—Jones’ work can get dark, and tense, drawing from the history of African-American blues, spirituals and gospel. He headlines the Center for New Music, a jewel of the Bay Area’s experimental music scene; the nonprofit space provides a much-needed venue for avant-garde artists to experiment outside of the pressure to be commercially successful. The tickets are always affordable, and 100% of the door goes to the artist. It’s a place where getting weird is encouraged, and Darius Jones’ show is a benefit for the space. That’s at the Center for New Music on Oct. 12. \u003ca href=\"https://centerfornewmusic.com/calendar/darius-jones-c4nm-benefit/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Stereolab\u003c/strong>: We can’t forget the return of Stereolab, the fiercely creative prog / new wave / lounge band. After a long hiatus, they play three reunion shows at the Fillmore in San Francisco next week, Oct. 17–19. \u003ca href=\"https://thefillmore.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Listen to KQED's picks for things to do in the Bay Area from Oct. 10–17, 2019.","status":"publish","parent":0,"modified":1705021999,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":881},"headData":{"title":"The Do List: Life is Living, Janelle Monáe, Stereolab and More | KQED","description":"Listen to KQED's picks for things to do in the Bay Area from Oct. 10–17, 2019.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Do List: Life is Living, Janelle Monáe, Stereolab and More","datePublished":"2019-10-11T15:10:39.000Z","dateModified":"2024-01-12T01:13:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"http://ww2.kqed.org/podcasts/wp-content/uploads/sites/77/2019/10/TheDoListforThursdayOct.10-SundayOct.13mix1-online-audio-converter.com_.mp3","sticky":false,"audioTrackLength":349,"templateType":"standard","featuredImageType":"standard","startTime":1570690800,"endTime":1571295600,"startTimeString":"Oct. 10–17, 2019","path":"/arts/13868089/the-do-list-life-is-living-janelle-monae-stereolab-and-more","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Nastia Voynovskaya and Rae Alexandra, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Life Is Living Festival\u003c/strong>: The Life is Living festival is an annual party in the park with a purpose. Their tagline? “Keeping Oakland Oakland Since 2008.” You’ll get live performances from Elle Varner (a marvelous singer who’s been in Oakland before, and who counts \u003ca href=\"https://www.vibe.com/2012/09/michelle-obama-endorses-elle-varner\" rel=\"noopener\" target=\"_blank\">Michelle Obama among her fans\u003c/a>), Shyan’G, Drew Banga and more, plus dance classes, theater, skateboarding, and local vendors. But the important thing this year is the 50th anniversary of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">Black Panthers’ free breakfast program\u003c/a>; from 10 to noon, breakfast is served, including by some of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">very same people\u003c/a> who helped found the program in 1969. The festival runs from 10am–7pm on Saturday, Oct. 12, at Lil Bobby Hutton Park (a.k.a. DeFremery Park) in Oakland. \u003ca href=\"https://lil19.youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Last Black Man in San Francisco’\u003c/strong>: On Friday, Oct. 11, you have a chance to see \u003cem>The Last Black Man in San Francisco\u003c/em>, a movie that wowed audiences earlier this year with its poetic depiction of two black friends trying to carve out space for themselves in the rapidly gentrifying city. It’s playing at PROXY, a free outdoor “walk-in” theater in Hayes Valley, right off of Patricia’s Green. You’ll recognize \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" rel=\"noopener\" target=\"_blank\">Mike Marshall\u003c/a>‘s version of \u003ca href=\"https://www.youtube.com/watch?v=3d3QbwWnLbc\" rel=\"noopener\" target=\"_blank\">this popular song\u003c/a> in the film, and much of the movie’s action takes place in the Fillmore, so this is a rare treat to see it just a few blocks from its setting. That’s Oct. 11, at 6pm. \u003ca href=\"http://proxysf.net/events/2019-proxy-fall-film-fest-the-last-black-man-in-san-francisco/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Janelle Monáe and the Roots\u003c/strong>: Janelle Monáe came to the Mission District a few years back to \u003ca href=\"https://www.kqed.org/arts/10912273/janelle-monae-jidenna-to-perform-sunday-at-mission-district-rally\" rel=\"noopener\" target=\"_blank\">lead a march against police brutality\u003c/a>, and now, she’s coming back—and bringing the Roots with her—for another good cause. A full 100% of the proceeds from this week’s show go to Tipping Point, a nonprofit that fights poverty in the Bay Area by funding organizations doing on-the-ground work to address homelessness and disparities in employment, housing and education. If you haven’t seen Monáe live, she puts on a killer show that celebrates queer black identity through a sci-fi lens. She and the Roots play the Fox Theater in Oakland on Oct. 12. \u003ca href=\"http://thefoxoakland.com/events/janelle-monae\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tommy Orange\u003c/strong>: Every year, the San Francisco Public Library picks one book for its \u003cem>One City One Book\u003c/em> program. This year, their pick is \u003cem>There There\u003c/em>, by local author Tommy Orange, which tells the story of generations of interconnected Native Americans living in Oakland. Sarah loved this book, and can’t wait for more people to read it so she can talk about it more. Orange speaks at the main branch of the San Francisco Public Library on Wednesday, Oct. 16, at 6pm. \u003ca href=\"https://sfpl.org/?pg=1035343001\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Morbid Desire\u003c/strong>: If you’re one of those people that starts celebrating Halloween the second October starts, the historic Camron-Stanford House in Oakland has an excellent exhibit to get you in the mood. \u003cem>Morbid Desire\u003c/em> has been running annually for the last four years, and is all about the strange, dark world of Victorian mourning customs. It’s a little bit different each year—this time around, the focus is on funeral rites—but it’s always educational, and always entertaining. For Rae, the best part is the fashion; particularly the \u003cem>memento mori\u003c/em> jewelry, much of which contains braided human hair and other things you probably wouldn’t want to touch. There are three tours of the exhibit every Sunday in October, and the Camron-Stanford staff are incredibly knowledgeable and enthusiastic, so it’s always a fun, if rather gothic, way to spend the afternoon. \u003ca href=\"https://cshouse.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Darius Jones\u003c/strong>: Here’s a chance to see a rising saxophone star from New York who’s been praised all over the country for his innovative, poetic use of the instrument. Don’t expect easy listening—Jones’ work can get dark, and tense, drawing from the history of African-American blues, spirituals and gospel. He headlines the Center for New Music, a jewel of the Bay Area’s experimental music scene; the nonprofit space provides a much-needed venue for avant-garde artists to experiment outside of the pressure to be commercially successful. The tickets are always affordable, and 100% of the door goes to the artist. It’s a place where getting weird is encouraged, and Darius Jones’ show is a benefit for the space. That’s at the Center for New Music on Oct. 12. \u003ca href=\"https://centerfornewmusic.com/calendar/darius-jones-c4nm-benefit/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Stereolab\u003c/strong>: We can’t forget the return of Stereolab, the fiercely creative prog / new wave / lounge band. After a long hiatus, they play three reunion shows at the Fillmore in San Francisco next week, Oct. 17–19. \u003ca href=\"https://thefillmore.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13868089/the-do-list-life-is-living-janelle-monae-stereolab-and-more","authors":["185"],"programs":["arts_140"],"categories":["arts_73","arts_835","arts_74","arts_69","arts_967","arts_70"],"tags":["arts_928","arts_3607","arts_1118","arts_977","arts_3944","arts_4001","arts_8787","arts_1334","arts_2996"],"featImg":"arts_13868114","label":"arts_140"},"arts_13847920":{"type":"posts","id":"arts_13847920","meta":{"index":"posts_1591205157","site":"arts","id":"13847920","score":null,"sort":[1546369580000]},"guestAuthors":[],"slug":"arethas-bridge","title":"Aretha's Bridge","publishDate":1546369580,"format":"image","headTitle":"Aretha’s Bridge | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>[contextly_sidebar id=”NP2k2sRmZaUEykroiK5ox8yGTnIQTXN5″]\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\u003c/p>\n\u003cp>https://youtu.be/7IExZv-mgrw\u003c/p>\n\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\u003c/p>\n\u003cp>https://youtu.be/lMvFKpqnsWU\u003c/p>\n\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\u003c/p>\n\u003cp>https://youtu.be/KA84TNAGWJM\u003c/p>\n\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No time like now to take that bridge once more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha%27s+Bridge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Amidst an instantly historic performance in 1971 that led to one of her best-known albums, Aretha Franklin's rendition of a single song carries inside it the weight of pop, soul and gospel history.","status":"publish","parent":0,"modified":1705026808,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":2559},"headData":{"title":"Aretha's Bridge | KQED","description":"Amidst an instantly historic performance in 1971 that led to one of her best-known albums, Aretha Franklin's rendition of a single song carries inside it the weight of pop, soul and gospel history.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Aretha's Bridge","datePublished":"2019-01-01T19:06:20.000Z","dateModified":"2024-01-12T02:33:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Robert Altman","nprByline":"Daphne A. Brooks","nprImageAgency":"Getty Images","nprStoryId":"639644891","nprApiLink":"http://api.npr.org/query?id=639644891&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/08/18/639644891/arethas-bridge?ft=nprml&f=639644891","nprRetrievedStory":"1","nprPubDate":"Sat, 18 Aug 2018 15:29:00 -0400","nprStoryDate":"Sat, 18 Aug 2018 15:27:00 -0400","nprLastModifiedDate":"Sat, 18 Aug 2018 15:29:00 -0400","path":"/arts/13847920/arethas-bridge","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\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>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\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/7IExZv-mgrw'\n title='//www.youtube.com/embed/7IExZv-mgrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\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/lMvFKpqnsWU'\n title='//www.youtube.com/embed/lMvFKpqnsWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\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/KA84TNAGWJM'\n title='//www.youtube.com/embed/KA84TNAGWJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\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>No time like now to take that bridge once more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha%27s+Bridge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13847920/arethas-bridge","authors":["byline_arts_13847920"],"categories":["arts_835","arts_69","arts_1564"],"tags":["arts_5470","arts_1806","arts_3277","arts_596","arts_956","arts_6332","arts_2996"],"affiliates":["arts_137"],"featImg":"arts_13847921","label":"arts_137"},"arts_13830967":{"type":"posts","id":"arts_13830967","meta":{"index":"posts_1591205157","site":"arts","id":"13830967","score":null,"sort":[1525292715000]},"guestAuthors":[],"slug":"khalid-not-so-dumb-not-so-broke","title":"Khalid: Not So Dumb, Not So Broke","publishDate":1525292715,"format":"standard","headTitle":"Khalid: Not So Dumb, Not So Broke | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Khalid’s song “Young Dumb & Broke” is a sardonic twist on the media’s obsession with millennials as “young, dumb and broke.” And as my co-host Gabe Meline says, it’s sure to be this year’s high school graduation anthem. Khalid has a knack for a great hook, and he’s sold out Bill Graham’s Civic Auditorium, with a second show added. So, Gabe notes, Khalid is, maybe, not so broke.\u003c/p>\n\u003cp>I was impressed with the haunting organ line that underlays the song, and with the video (351 million views). It’s just a lovely tribute to the promise of youth, featuring real high school kids, not models. The kids, as Gabe said, are all right. Khalid plays Bill Graham’s Civic Auditorium in San Francisco May 5 and 6, and the ARC Pavilion in Davis on May 7. \u003ca href=\"http://www.khalidofficial.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=by3yRdlQvzs\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Khalid's moving, modern soul music has brought him fame, and most likely some financial success.","status":"publish","parent":0,"modified":1705027960,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":168},"headData":{"title":"Khalid: Not So Dumb, Not So Broke | KQED","description":"Khalid's moving, modern soul music has brought him fame, and most likely some financial success.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Khalid: Not So Dumb, Not So Broke","datePublished":"2018-05-02T20:25:15.000Z","dateModified":"2024-01-12T02:52:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13830967/khalid-not-so-dumb-not-so-broke","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Khalid’s song “Young Dumb & Broke” is a sardonic twist on the media’s obsession with millennials as “young, dumb and broke.” And as my co-host Gabe Meline says, it’s sure to be this year’s high school graduation anthem. Khalid has a knack for a great hook, and he’s sold out Bill Graham’s Civic Auditorium, with a second show added. So, Gabe notes, Khalid is, maybe, not so broke.\u003c/p>\n\u003cp>I was impressed with the haunting organ line that underlays the song, and with the video (351 million views). It’s just a lovely tribute to the promise of youth, featuring real high school kids, not models. The kids, as Gabe said, are all right. Khalid plays Bill Graham’s Civic Auditorium in San Francisco May 5 and 6, and the ARC Pavilion in Davis on May 7. \u003ca href=\"http://www.khalidofficial.com/\" target=\"_blank\" rel=\"noopener\">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/by3yRdlQvzs'\n title='//www.youtube.com/embed/by3yRdlQvzs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13830967/khalid-not-so-dumb-not-so-broke","authors":["32"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_1006","arts_2996"],"featImg":"arts_13830960","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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