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The best of KQED’s arts commentary.
‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut
May 29
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May 23
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May 23
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At the Coterie Den, San José Artists Work, Play and Dream
May 22
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Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts
May 16
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$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco
May 10
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Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95
May 8
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‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In
May 2
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Shannon Shaw’s New Album Channels a Magical Love and a Life-Changing Loss
Apr 30
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He is also a gifted photographer. You didn’t know? Michael Jacobs is here to help.\u003c/p>\n\u003cp>Jacobs’ fascinating portrait, \u003cem>\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">Who is Michael Jang?\u003c/a>\u003c/em>, has its world premiere Thursday, May 30 at the Roxie on opening night of the San Francisco Documentary Film Festival (aka SF DocFest). The screening shapes up to be a raucous celebration of a cult NorCal figure, with Jacobs beaming from the edges of the spotlight. \u003c/p>\n\u003cp>The self-effacing Marin County documentary maker made a splash with his 2007 debut, \u003cem>Audience of One\u003c/em>, the jaw-dropping saga of a Pentecostal minister of a small congregation in the Richmond who declares out of the blue that God has instructed him to make a film. Not a homemade inspirational parable, however, but a multimillion-dollar sci-fi epic.\u003c/p>\n\u003cp>Since its long-ago festival run \u003cem>Audience of One\u003c/em> has only been available as a hard-to-find DVD — it’s never been licensed to a streaming platform — yet it’s one of those docs that sticks in the memory. That’s a Michael Jacobs trademark: audiences forget his name but not his characters and stories. (His 2014 short doc \u003cem>The High Five\u003c/em> honored gay major league ballplayer Glenn Burke, who introduced the high five celebration with Dodger teammate Dusty Baker in 1977.)\u003c/p>\n\u003cfigure id=\"attachment_13958812\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg\" alt='Man sits at bus stop with hands in pockets, wheat paste of \"JANG\" poster above him on wall' width=\"2560\" height=\"1920\" class=\"size-full wp-image-13958812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The artist Michael Jang in a still from ‘Who is Michael Jang?’ \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs met Jang when they shared the bill at a Pop-Up Magazine show in 2015. Jacobs and Barry Jenkins (pre-\u003cem>Moonlight\u003c/em>) presented a short, \u003cem>Boxing Gym\u003c/em>, they shot in Oakland. Jang showed some of the headshots he took of local contestants trying out to be meteorologists for a local newscast in the late 1980s (which are included, thankfully, in \u003cem>Who is Michael Jang?\u003c/em>). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He presented the \u003cem>Summer Weather\u003c/em> images and told this very, very funny and endearing and engaging story about how he came to take these pictures and the different types of people that showed up,” Jacobs recalls. “I was just immediately captivated by his images and by his personality.”\u003c/p>\n\u003cp>One of the themes of \u003cem>Who is Michael Jang?\u003c/em> is the artist’s frustration at not being recognized early on for a remarkable body of work that encompassed punk shows, Asian American protests and family get-togethers (that magically transcend personal mementos). Jang encountered discrimination as a Chinese American photographer, and his subsequent decision to focus on commercial photography to support his family essentially took him off the radar for curators and critics.\u003c/p>\n\u003cp>Plenty of artists would have used an introduction like the Pop-Up Magazine encounter to pitch themselves to Jacobs as a documentary subject. But not Michael Jang.\u003c/p>\n\u003cp>“I’m not sure what occurs to him and what doesn’t when it comes to the ways in which he wants to share his work with the world,” Jacobs says. “I think he’s always been more focused on being recognized in fine art settings and museum and gallery settings.”\u003c/p>\n\u003cfigure id=\"attachment_13958814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg\" alt=\"Classic car in front of wall of wheatpasted black and white family photos on boarded-up storefront\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13958814\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">An example of Michael Jang’s renegade art displays on the streets of San Francisco. \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic, Jang devised a public art campaign with a caustic thread of sociopolitical commentary. Mining his archives, he created and pasted posters and collages on boarded-up Clement Street storefronts. Jang was responding, in part, to the increase in anti-Asian violence triggered by a certain public figure’s inflammatory description of COVID-19 as “the Chinese virus.”\u003c/p>\n\u003cp>Meanwhile, the fact that the new work repurposed old photographs — bringing the past into the present — may have something to do with why locked-down San Franciscans connected with it. Jang also photographed and posted his street art \u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\">on Instagram\u003c/a>. Enter, or re-enter, Mike Jacobs.\u003c/p>\n\u003cp>“My curiosity was piqued about who this guy is and what exactly he was doing and why I wasn’t more familiar with him,” Jacobs recalls. “And why other people that I knew who paid attention to photography and fine art and culture weren’t familiar with him either.”\u003c/p>\n\u003cp>[aside postID='arts_13958101,arts_13958735' label='More at SF DocFest']\u003cem>Who is Michael Jang?\u003c/em>, which clocks in at an unusual 42 minutes, and airs on PBS this fall or next winter, pulls off the thrilling trick of being an expression of its maker and a work of art in its own right, without upstaging its talented subject. \u003c/p>\n\u003cp>Jacobs and editor Clayton Worfolk mix and match the usual doc elements — a vast array of archival footage, contemporary interviews and verité footage (a downhill run of Jang’s skateboard friends to Ocean Beach, Jang in character and costume as the cigarette-smoking Chef Jang, a cook at Brandon Jew’s Chinatown establishment Mister Jiu’s) — to establish a solid San Francisco backdrop, dissolve time (to erase the distance between the past and the present) and honor the mystery at the core of Jang’s creativity.\u003c/p>\n\u003cp>“We knew Michael’s interview was going to be direct to camera, where the audience was going to get the opportunity to meet his eye and look at him in that one-on-one relationship,” Jacobs explains. “With the other [interview] subjects, we decided that black-and-white would be a nod to his still photography and the way he created these beautiful Leica snapshots. It also supported the transitions to archival through different eras of storytelling.” \u003c/p>\n\u003cp>The documentary incorporates 8mm and 16mm film reels from Jang’s childhood; family photographs from the 1950s and ’60s; as well as his fine art photography from the ’70s, ’80s and ’90s. Along with introducing Jang to audiences who didn’t know him, Jacobs was determined to provide fresh context and new information for people who are familiar with the photographer’s work.\u003c/p>\n\u003cp>“Some of these scenes are a bit more out of context from a traditional biographical documentary, skateboarding or the kitchen scene,” he notes. “They are small moments but they illustrate the real visceral immediacy of an artist living, working, breathing in the city. And some of the things he reveals in the storytelling, whether it’s his kids or things he talks about at the end of the film, those are things that he’s probably shared with very few people.”\u003c/p>\n\u003cp>https://vimeo.com/946766672\u003c/p>\n\u003cp>Arguably the most thought-provoking element, though, is Jang’s recurring performance as Chef Jang. It’s an important piece of the documentary, denoting Jang’s collaboration with the filmmaker while conveying his autonomy and authority.\u003c/p>\n\u003cp>“It’s very difficult working with a living artist because they’re very particular — with good reason — about the ways in which they’re being perceived,” Jacobs says. “Michael’s had articles written about him, he’s had gallery shows and his work is featured in museums, but a documentary’s different. It’s going to be how I want the audience to perceive his life and times. We’re going to make choices that he may not like or agree with. \u003c/p>\n\u003cp>“That’s a delicate, delicate balance with a documentary subject who has never really been exposed in this way,” Jacobs continues. “I really empathize with that. Being an artist is already living with a certain amount of vulnerability, and that vulnerability is only heightened with cameras and filmmakers.”\u003c/p>\n\u003cp>Jacobs developed a level of trust with Jang that is palpable on screen. Yes, they bonded as visual artists — voyeurs — who shoot and interpret real life. But they also share a private childish joy at circumventing the gatekeepers. \u003c/p>\n\u003cp>“Something that I love about Michael, that he says early in the film, is he and I absolutely can relate to each other [because] he was sneaking into places to take pictures where he wasn’t permitted,” Jacobs says. “With documentary I sometimes feel the same. The camera and the project is providing me a mechanism for access to a world that I wouldn’t necessarily be invited to, and I wouldn’t necessarily be a part of in my everyday life.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Who is Michael Jang?’ screens with ‘Kim Jong, Alfaman and The Probe: A LeMons Race’ at 8:30 p.m. and 10:30 p.m. on Thursday, May 30 at the Roxie Theater as part of \u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">SF DocFest\u003c/a>. It is also available to stream online May 30–June 9, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Michael Jacobs’ portrait of the San Francisco photographer is both kinetic and timeless.","status":"publish","parent":0,"modified":1717100630,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1472},"headData":{"title":"‘Who is Michael Jang?’ Premieres at SF DocFest | KQED","description":"Michael Jacobs’ portrait of the San Francisco photographer is both kinetic and timeless.","ogTitle":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","ogDescription":"","ogImgId":"","twTitle":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","twDescription":"","twImgId":"","socialTitle":"‘Who is Michael Jang?’ Premieres at SF DocFest %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","datePublished":"2024-05-29T13:07:23-07:00","dateModified":"2024-05-30T13:23:50-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958762","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Jang is an authentic San Francisco character. He is also a gifted photographer. You didn’t know? Michael Jacobs is here to help.\u003c/p>\n\u003cp>Jacobs’ fascinating portrait, \u003cem>\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">Who is Michael Jang?\u003c/a>\u003c/em>, has its world premiere Thursday, May 30 at the Roxie on opening night of the San Francisco Documentary Film Festival (aka SF DocFest). The screening shapes up to be a raucous celebration of a cult NorCal figure, with Jacobs beaming from the edges of the spotlight. \u003c/p>\n\u003cp>The self-effacing Marin County documentary maker made a splash with his 2007 debut, \u003cem>Audience of One\u003c/em>, the jaw-dropping saga of a Pentecostal minister of a small congregation in the Richmond who declares out of the blue that God has instructed him to make a film. Not a homemade inspirational parable, however, but a multimillion-dollar sci-fi epic.\u003c/p>\n\u003cp>Since its long-ago festival run \u003cem>Audience of One\u003c/em> has only been available as a hard-to-find DVD — it’s never been licensed to a streaming platform — yet it’s one of those docs that sticks in the memory. That’s a Michael Jacobs trademark: audiences forget his name but not his characters and stories. (His 2014 short doc \u003cem>The High Five\u003c/em> honored gay major league ballplayer Glenn Burke, who introduced the high five celebration with Dodger teammate Dusty Baker in 1977.)\u003c/p>\n\u003cfigure id=\"attachment_13958812\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg\" alt='Man sits at bus stop with hands in pockets, wheat paste of \"JANG\" poster above him on wall' width=\"2560\" height=\"1920\" class=\"size-full wp-image-13958812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The artist Michael Jang in a still from ‘Who is Michael Jang?’ \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs met Jang when they shared the bill at a Pop-Up Magazine show in 2015. Jacobs and Barry Jenkins (pre-\u003cem>Moonlight\u003c/em>) presented a short, \u003cem>Boxing Gym\u003c/em>, they shot in Oakland. Jang showed some of the headshots he took of local contestants trying out to be meteorologists for a local newscast in the late 1980s (which are included, thankfully, in \u003cem>Who is Michael Jang?\u003c/em>). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He presented the \u003cem>Summer Weather\u003c/em> images and told this very, very funny and endearing and engaging story about how he came to take these pictures and the different types of people that showed up,” Jacobs recalls. “I was just immediately captivated by his images and by his personality.”\u003c/p>\n\u003cp>One of the themes of \u003cem>Who is Michael Jang?\u003c/em> is the artist’s frustration at not being recognized early on for a remarkable body of work that encompassed punk shows, Asian American protests and family get-togethers (that magically transcend personal mementos). Jang encountered discrimination as a Chinese American photographer, and his subsequent decision to focus on commercial photography to support his family essentially took him off the radar for curators and critics.\u003c/p>\n\u003cp>Plenty of artists would have used an introduction like the Pop-Up Magazine encounter to pitch themselves to Jacobs as a documentary subject. But not Michael Jang.\u003c/p>\n\u003cp>“I’m not sure what occurs to him and what doesn’t when it comes to the ways in which he wants to share his work with the world,” Jacobs says. “I think he’s always been more focused on being recognized in fine art settings and museum and gallery settings.”\u003c/p>\n\u003cfigure id=\"attachment_13958814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg\" alt=\"Classic car in front of wall of wheatpasted black and white family photos on boarded-up storefront\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13958814\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">An example of Michael Jang’s renegade art displays on the streets of San Francisco. \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic, Jang devised a public art campaign with a caustic thread of sociopolitical commentary. Mining his archives, he created and pasted posters and collages on boarded-up Clement Street storefronts. Jang was responding, in part, to the increase in anti-Asian violence triggered by a certain public figure’s inflammatory description of COVID-19 as “the Chinese virus.”\u003c/p>\n\u003cp>Meanwhile, the fact that the new work repurposed old photographs — bringing the past into the present — may have something to do with why locked-down San Franciscans connected with it. Jang also photographed and posted his street art \u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\">on Instagram\u003c/a>. Enter, or re-enter, Mike Jacobs.\u003c/p>\n\u003cp>“My curiosity was piqued about who this guy is and what exactly he was doing and why I wasn’t more familiar with him,” Jacobs recalls. “And why other people that I knew who paid attention to photography and fine art and culture weren’t familiar with him either.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958101,arts_13958735","label":"More at SF DocFest "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Who is Michael Jang?\u003c/em>, which clocks in at an unusual 42 minutes, and airs on PBS this fall or next winter, pulls off the thrilling trick of being an expression of its maker and a work of art in its own right, without upstaging its talented subject. \u003c/p>\n\u003cp>Jacobs and editor Clayton Worfolk mix and match the usual doc elements — a vast array of archival footage, contemporary interviews and verité footage (a downhill run of Jang’s skateboard friends to Ocean Beach, Jang in character and costume as the cigarette-smoking Chef Jang, a cook at Brandon Jew’s Chinatown establishment Mister Jiu’s) — to establish a solid San Francisco backdrop, dissolve time (to erase the distance between the past and the present) and honor the mystery at the core of Jang’s creativity.\u003c/p>\n\u003cp>“We knew Michael’s interview was going to be direct to camera, where the audience was going to get the opportunity to meet his eye and look at him in that one-on-one relationship,” Jacobs explains. “With the other [interview] subjects, we decided that black-and-white would be a nod to his still photography and the way he created these beautiful Leica snapshots. It also supported the transitions to archival through different eras of storytelling.” \u003c/p>\n\u003cp>The documentary incorporates 8mm and 16mm film reels from Jang’s childhood; family photographs from the 1950s and ’60s; as well as his fine art photography from the ’70s, ’80s and ’90s. Along with introducing Jang to audiences who didn’t know him, Jacobs was determined to provide fresh context and new information for people who are familiar with the photographer’s work.\u003c/p>\n\u003cp>“Some of these scenes are a bit more out of context from a traditional biographical documentary, skateboarding or the kitchen scene,” he notes. “They are small moments but they illustrate the real visceral immediacy of an artist living, working, breathing in the city. And some of the things he reveals in the storytelling, whether it’s his kids or things he talks about at the end of the film, those are things that he’s probably shared with very few people.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"946766672"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arguably the most thought-provoking element, though, is Jang’s recurring performance as Chef Jang. It’s an important piece of the documentary, denoting Jang’s collaboration with the filmmaker while conveying his autonomy and authority.\u003c/p>\n\u003cp>“It’s very difficult working with a living artist because they’re very particular — with good reason — about the ways in which they’re being perceived,” Jacobs says. “Michael’s had articles written about him, he’s had gallery shows and his work is featured in museums, but a documentary’s different. It’s going to be how I want the audience to perceive his life and times. We’re going to make choices that he may not like or agree with. \u003c/p>\n\u003cp>“That’s a delicate, delicate balance with a documentary subject who has never really been exposed in this way,” Jacobs continues. “I really empathize with that. Being an artist is already living with a certain amount of vulnerability, and that vulnerability is only heightened with cameras and filmmakers.”\u003c/p>\n\u003cp>Jacobs developed a level of trust with Jang that is palpable on screen. Yes, they bonded as visual artists — voyeurs — who shoot and interpret real life. But they also share a private childish joy at circumventing the gatekeepers. \u003c/p>\n\u003cp>“Something that I love about Michael, that he says early in the film, is he and I absolutely can relate to each other [because] he was sneaking into places to take pictures where he wasn’t permitted,” Jacobs says. “With documentary I sometimes feel the same. The camera and the project is providing me a mechanism for access to a world that I wouldn’t necessarily be invited to, and I wouldn’t necessarily be a part of in my everyday life.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Who is Michael Jang?’ screens with ‘Kim Jong, Alfaman and The Probe: A LeMons Race’ at 8:30 p.m. and 10:30 p.m. on Thursday, May 30 at the Roxie Theater as part of \u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">SF DocFest\u003c/a>. It is also available to stream online May 30–June 9, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_70"],"tags":["arts_21958","arts_10342","arts_10278","arts_822","arts_585"],"featImg":"arts_13867630","label":"arts_140"},"arts_13958438":{"type":"posts","id":"arts_13958438","meta":{"index":"posts_1716263798","site":"arts","id":"13958438","score":null,"sort":[1716505164000]},"guestAuthors":[],"slug":"swagger-like-us-queer-hip-hop-nightlife-san-francisco","title":"How Swagger Like Us Pushed Queer Hip-Hop Forward in SF","publishDate":1716505164,"format":"standard","headTitle":"How Swagger Like Us Pushed Queer Hip-Hop Forward in SF | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>[dropcap]O[/dropcap]n July 29, 2012, a family function was born on the patio of San Francisco’s El Rio.\u003c/p>\n\u003cp>Rapper MicahTron, who grew up in Hunters Point, struck a pose onstage in a silk bomber jacket, encouraging an ecstatic queer crowd sporting shaved sides, crop tops and improbably tight denim to “\u003ca href=\"https://soundcloud.com/micahtron/use-it-like-a-bumper-2\">back it up, use it like a bumper\u003c/a>.” Her set followed a wraithlike performance by Tosh Basco, formerly known as boychild, an art star of the freak-drag movement that enraptured the city. Basco entranced the audience in a neon-green look consisting of little more than fishnets and happy face stickers. The event’s co-mastermind Kelly Lovemonster generously distributed hugs and booty pops, ensuring a certain atmosphere in their whisper of a gray tank top.\u003c/p>\n\u003cp>“We did this because we wanted to support our community,” says Lovemonster, who is now living on the other side of the world in Australia. “I helped run and produce \u003ca href=\"https://www.swaggersf.com/\">Swagger Like Us\u003c/a> because I really thought this was an important space to hold.”\u003c/p>\n\u003cp>DJs played a joyful, aerobic collection of beats: Club-remixed R&B divas rubbed up against queer artists from niche subgenres of the nationwide hip-hop diaspora. The event’s namesake, the chest-out line from M.I.A.’s “\u003ca href=\"https://www.youtube.com/watch?v=ewRjZoRtu0Y\">Paper Planes\u003c/a>” that \u003ca href=\"https://youtu.be/Im4tnRlJcXc?si=IHAkMCPr19JLJBwc\">Jay-Z and T.I. had spun into their own banger\u003c/a>, boomed out over the lemon trees that flanked the neighborhood bar’s dance floor. \u003cem>No one on the corner has swagger like us\u003c/em>, indeed.\u003c/p>\n\u003cp>Twelve years later, Swagger Like Us is now wrapping up its monthly format with a finale at El Rio on June 2. On a giggly, time-zone-spanning video call I had with the party’s two co-founders, Lovemonster brings up some thoughts occasioned by chapters on Black San Francisco in David Talbot’s history book \u003cem>Season of the Witch\u003c/em>. “I was thinking about places like the Fillmore and thinking of Swagger as a space for Black folks, and Black queer folks in particular, to say that we still exist,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13958452\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958452\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from a truly significant decade-plus of supporting the financial viability of queer hip-hop artists, this may well be Swagger’s true legacy in a city that has largely failed to hold the line for its Black community. “A space for us to congregate, a space for us to celebrate,” they smile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That long-ago debut twirl took place years before Swagger started selling out 1,000-person venues with indelible Pride events featuring larger-than-life allies like Trina and Leikeli47. But if you knew, you knew: Those of us who attended that first edition could absolutely clock a new chapter in queer San Francisco hip-hop history.\u003c/p>\n\u003cp>As Swagger’s finale approaches, it seems like a good moment to reflect on what the party has meant for its artists and attendees. (This may not mean goodbye forever: Organizers hint that they might be back in the future for special events.)\u003c/p>\n\u003cp>[dropcap]“T[/dropcap]he community that has formed around Swagger Like Us is nothing short of beautiful, vibrant, colorful and inclusive. It’s been a beautiful journey, and I feel incredibly humbled by the trust that David and Kelly have placed in me,” says acclaimed vogue dancer and queer socialite \u003ca href=\"https://www.instagram.com/sirjoq/?hl=en\">Jocquese Whitfield\u003c/a>, who has been hosting the party since that way-back first edition.\u003c/p>\n\u003cfigure id=\"attachment_13958450\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958450\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jocquese Whitfield at Swagger Like Us in 2018. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party’s debut came mere months after a little-known “\u003ca href=\"https://www.youtube.com/watch?v=bC6gTNKl-ak\">212\u003c/a>” ingénue named Azealia Banks nonchalantly told \u003cem>The New York Times\u003c/em> she was a bisexual. This was years before Lil Nas X came out with his 2019 track “\u003ca href=\"https://www.youtube.com/watch?v=eLgxYjZEflI\">C7osure\u003c/a>,” a release that arguably \u003ca href=\"https://www.revolt.tv/article/2019-07-05/93134/lil-nas-x-on-the-backlash-of-confirming-his-sexuality-im-not-angry-or-anything\">ushered in the era of the mainstream gay rapper\u003c/a>.\u003c/p>\n\u003cp>Nowadays, queer hip-hop has taken definite steps out of the underground. Streaming algorithms suggest \u003ca href=\"https://www.autostraddle.com/the-sounds-of-gen-z-five-queer-rappers-making-waves/\">LGBTQ+ performers\u003c/a> like Doechii and Ice Spice, and veteran MCs Queen Latifah and Da Brat have finally gone public with their decided lack of heterosexuality, to the delight of legions.\u003c/p>\n\u003cp>Swagger was born to book queer hip-hop’s rising stars long before the majors were ready. On national tours as one half of the queer electro-pop duo \u003ca href=\"https://www.instagram.com/doubleduchess/\">Double Duchess\u003c/a>, davOmakesbeats realized their home of San Francisco lacked inclusive, Black and Brown community functions that would “get” the lyrics and moves he and Krylon Superstar were delivering on stage. davO’s own Caucasity aside, the beats-obsessed, Maryland-born DJ wanted to feel that energy in his adopted City by the Bay.\u003c/p>\n\u003cp>“When I came to California, I would play Baltimore club tracks and no one would know what they were,” remembers davO, who was also the founder of the sweaty Chinatown basement party Blood Sweat and Queers. “I didn’t get it. I was like, ‘Not everybody listens to this?’”\u003c/p>\n\u003cfigure id=\"attachment_13958451\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958451\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">India Sky performs at Swagger Like Us in 2019. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it’s queer, immaculate vibes you’re looking for, you could do much worse than seek out davO’s eventual collaborator, Lovemonster. The multi-hyphenate creative with Haitian roots started producing events with their “Love canvases,” paint-spattered, clothing-optional performance-happenings they convened while attending their home state of New Jersey’s Rutgers University.\u003c/p>\n\u003cp>Today, they are successful curator and party producer in Sydney, Australia, where they live with their partner Spencer Dezart-Smith (a.k.a. boyfriend) — one of the founding DJs of Swagger Like Us — and their son. True to form, one of Lovemonster’s current events, Leak Your Own Nudes, is an underwear party. By the time they came together with davO over starting a new monthly function, Lovemonster was already a local nightlife heartthrob who curated the inclusive and foxy “go-go babes” at El Rio’s marquee soul music Saturday afternoon monthly, Hard French.\u003c/p>\n\u003cp>[dropcap]I[/dropcap] see now that this was one of the many golden ages of SF queer nightlife. In the early ’10s, you could drink affordably potent cocktails while grinding with sexy weirdos every night of the week: DJ Stanley Frank’s Viennetta Discotheque on Mondays, High Fantasy at Aunt Charlie’s on Tuesdays, Booty Call Wednesdays at Q Bar, Thursday nights at DJ Bus Station John’s Tubesteak Connection and avant-garde drag cabaret Club Something on Fridays at The Stud’s original location.\u003c/p>\n\u003cp>After a breakup, I wound up living with Lovemonster, Hard French promoter Tom Temprano and a passel of other sparkly queers and their pets in a ramshackle flat on South Van Ness Avenue. An easy drunken stumble from El Rio, our lair was the designated after for, uh, releasing the energy of the bar’s daylight-hour parties. Despite a preponderance of shenanigans, we all got along surprisingly lovingly. The last of us didn’t leave that house until many years later, when the front staircase collapsed.\u003c/p>\n\u003cp>[aside postid='arts_13938947']Even amid so much festivity, Swagger filled a void. Nearly every decade since hip-hop’s birth, Bay Area queers have made space in a genre that, much like the world at large, is all too often hampered by heteronormative rigidity. In the ’80s, Page Hodel’s The Box hosted Queen Latifah, over three decades before she came out officially. In the ’90s, DJ Olga T gave birth to the eternal (27+ years running!) Mango at El Rio. Juba Kalamka of Deep Dickollective produced the first edition of the PeaceOUT World Homo Hop Festival in 2001, and in 2003, Oakland’s electric fundraiser-dance-party Ships in the Night set sail.\u003c/p>\n\u003cp>Though Swagger is indubitably part of this proud legacy, its founders were more focused on creating a proper Bay Area stop for the countrywide queer hip-hop circuit. Their first edition featured local nightlife stars, but the crew was soon introducing growing crowds to their next Soundcloud addictions. Early lineups featured Nola bounce queens Katey Red and Sissy Nobby; UNIIQU3’s defiant Jersey club; NYC ballroom giants MikeQ and Byrell the Great; Baltimore rappers DDm and TT the Artist; and the cadre of brilliant queer hip-hop artists who at the time always seemed painfully close to breaking the genre’s glass ceiling: Le1f, Zebra Katz, Cakes Da Killa and even Princess Nokia, who delivered an early performance of “Tomboy” to the Swagger crowd at Oasis.\u003c/p>\n\u003cfigure id=\"attachment_13958453\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of these names are now Bay Area party regulars. At least in part, that’s due to their initial Swagger bookings. Eventually, the sound expanded to run the gamut of Black-rooted genres, including baile funk, the reggaeton of Mexico City’s Rosa Pistola and Latin club. The CDMX party I hosted (I’m telling you, it runs in the family), Traición, came up for a Swagger crossover Folsom Street Fair afterparty in 2017.\u003c/p>\n\u003cp>“It was the first time that I had been welcomed by a space that was so queer and Black,” remembers Saturn Risin9. The Hercules-raised performer had come up through what she calls San Francisco’s “universal” nightlife spaces, all-comer dance parties like Lights Down Low and Blow Up. “But at that time, I needed to connect with people like me,” she continues.\u003c/p>\n\u003cp>Swagger was there at every shift in her career, providing a stage for Saturn’s early, elaborate choreographies and eventually, her sets of breathy, club-ready R&B tracks that davO produced on \u003ca href=\"https://www.sfchronicle.com/music/article/Molly-House-Records-aims-to-take-LGBTQ-artists-11100671.php\">Molly House Records\u003c/a>, founded in 2017 to provide yet more amplification for the party’s talented collaborators. “It was a beautiful space for me to find ways to nurture others, and find out how I needed to be nurtured,” she recalls.\u003c/p>\n\u003cp>“It felt amazing to be celebrated as a Black queer artist in the city that I was born in,” says self-proclaimed “hyphy spiritual” and second-generation San Francisco rapper A.M.K, who adds that her Swagger appearances netted her exposure that led to out-of-state gigs. “Swagger Like Us represents the diversity and the love of the Bay Area,” A.M.K concludes.[aside postid='arts_13928057']\u003c/p>\n\u003cp>But throwing a BIPOC hip-hop party in San Francisco has never been all positivity, as generations of promoters who’ve encountered manic police surveillance and hostile venue owners know. Lovemonster recalls an insurance company who jacked up rates for a major event when they found out Swagger’s genre of preference.\u003c/p>\n\u003cp>And the city’s evolution meant many from the event’s original crowd eventually moved out. “The only changes to the party have been by virtue of the city’s changes, which is to be expected,” says davO, who is now back in Maryland working as an addiction counselor and life coach. He left SF in 2018, the same year Lovemonster and boyfriend decamped to start their Australian family.\u003c/p>\n\u003cfigure id=\"attachment_13958454\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in March 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, a younger generation carried on with the show, hosting and eventually becoming the new face of the party. “I think Jocquese and I were synonymous on the Swagger stage because we were its little siblings,” says Saturn. “Like, if davO and Kelly were the Kardashians, we were the Kendall and Kylie.” That they have given new life to Swagger over the last six years reminds me that as one person’s San Francisco recedes, another’s celebration of the city is just starting to pop.\u003c/p>\n\u003cp>But also: “There’s a beginning and end to everything,” says Lovemonster, explaining away the end of the 12-year monthly that provided a place to dance, flirt and link when it was needed most. “Like, it’s just literally the cycle of life.”\u003c/p>\n\u003cp>There are sure to be a few tears when davO spins his classic Swagger closer “Choose Me,” a sweet, sunny Cobra Krames remix of UGK and Outkast’s “Int’l Players Anthem.” (“I just chose everybody!” davO exclaims when asked how the track made it into his heavy rotation.) Still, don’t think the finale of Swagger’s last season at El Rio will have more sad than swag.\u003c/p>\n\u003cp>At least, not according to its headliner, Cakes Da Killa: “I’m honored to be in the mix for the last hurrah, and I hope everyone pulls up and shows out.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-tickets-845752437307\">Swagger Like Us\u003c/a> will host its final monthly edition at El Rio (3158 Mission, San Francisco) on Sunday, June 2, 3-8 p.m. Tickets will be available at the door for $25. There will be an after-party at The Stud (1123-1125 Folsom Street, San Francisco) from 8 p.m.-2 a.m. \u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-the-after-party-tickets-907486976977?aff=oddtdtcreator\">Tickets available online\u003c/a> for $20, $25 at the door. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"As they wrap up a 12-year run, organizers look back a wild and expansive chapter in local nightlife.","status":"publish","parent":0,"modified":1717100591,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":2245},"headData":{"title":"How Swagger Like Us Pushed Queer Hip-Hop Forward in SF | KQED","description":"As they wrap up a 12-year run, organizers look back a wild and expansive chapter in local nightlife.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Swagger Like Us Pushed Queer Hip-Hop Forward in SF","datePublished":"2024-05-23T15:59:24-07:00","dateModified":"2024-05-30T13:23:11-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Caitlin Donohue","nprStoryId":"kqed-13958438","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13958438/swagger-like-us-queer-hip-hop-nightlife-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n July 29, 2012, a family function was born on the patio of San Francisco’s El Rio.\u003c/p>\n\u003cp>Rapper MicahTron, who grew up in Hunters Point, struck a pose onstage in a silk bomber jacket, encouraging an ecstatic queer crowd sporting shaved sides, crop tops and improbably tight denim to “\u003ca href=\"https://soundcloud.com/micahtron/use-it-like-a-bumper-2\">back it up, use it like a bumper\u003c/a>.” Her set followed a wraithlike performance by Tosh Basco, formerly known as boychild, an art star of the freak-drag movement that enraptured the city. Basco entranced the audience in a neon-green look consisting of little more than fishnets and happy face stickers. The event’s co-mastermind Kelly Lovemonster generously distributed hugs and booty pops, ensuring a certain atmosphere in their whisper of a gray tank top.\u003c/p>\n\u003cp>“We did this because we wanted to support our community,” says Lovemonster, who is now living on the other side of the world in Australia. “I helped run and produce \u003ca href=\"https://www.swaggersf.com/\">Swagger Like Us\u003c/a> because I really thought this was an important space to hold.”\u003c/p>\n\u003cp>DJs played a joyful, aerobic collection of beats: Club-remixed R&B divas rubbed up against queer artists from niche subgenres of the nationwide hip-hop diaspora. The event’s namesake, the chest-out line from M.I.A.’s “\u003ca href=\"https://www.youtube.com/watch?v=ewRjZoRtu0Y\">Paper Planes\u003c/a>” that \u003ca href=\"https://youtu.be/Im4tnRlJcXc?si=IHAkMCPr19JLJBwc\">Jay-Z and T.I. had spun into their own banger\u003c/a>, boomed out over the lemon trees that flanked the neighborhood bar’s dance floor. \u003cem>No one on the corner has swagger like us\u003c/em>, indeed.\u003c/p>\n\u003cp>Twelve years later, Swagger Like Us is now wrapping up its monthly format with a finale at El Rio on June 2. On a giggly, time-zone-spanning video call I had with the party’s two co-founders, Lovemonster brings up some thoughts occasioned by chapters on Black San Francisco in David Talbot’s history book \u003cem>Season of the Witch\u003c/em>. “I was thinking about places like the Fillmore and thinking of Swagger as a space for Black folks, and Black queer folks in particular, to say that we still exist,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13958452\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958452\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from a truly significant decade-plus of supporting the financial viability of queer hip-hop artists, this may well be Swagger’s true legacy in a city that has largely failed to hold the line for its Black community. “A space for us to congregate, a space for us to celebrate,” they smile.\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>That long-ago debut twirl took place years before Swagger started selling out 1,000-person venues with indelible Pride events featuring larger-than-life allies like Trina and Leikeli47. But if you knew, you knew: Those of us who attended that first edition could absolutely clock a new chapter in queer San Francisco hip-hop history.\u003c/p>\n\u003cp>As Swagger’s finale approaches, it seems like a good moment to reflect on what the party has meant for its artists and attendees. (This may not mean goodbye forever: Organizers hint that they might be back in the future for special events.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“T\u003c/span>\u003c/p>\u003cp>he community that has formed around Swagger Like Us is nothing short of beautiful, vibrant, colorful and inclusive. It’s been a beautiful journey, and I feel incredibly humbled by the trust that David and Kelly have placed in me,” says acclaimed vogue dancer and queer socialite \u003ca href=\"https://www.instagram.com/sirjoq/?hl=en\">Jocquese Whitfield\u003c/a>, who has been hosting the party since that way-back first edition.\u003c/p>\n\u003cfigure id=\"attachment_13958450\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958450\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jocquese Whitfield at Swagger Like Us in 2018. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party’s debut came mere months after a little-known “\u003ca href=\"https://www.youtube.com/watch?v=bC6gTNKl-ak\">212\u003c/a>” ingénue named Azealia Banks nonchalantly told \u003cem>The New York Times\u003c/em> she was a bisexual. This was years before Lil Nas X came out with his 2019 track “\u003ca href=\"https://www.youtube.com/watch?v=eLgxYjZEflI\">C7osure\u003c/a>,” a release that arguably \u003ca href=\"https://www.revolt.tv/article/2019-07-05/93134/lil-nas-x-on-the-backlash-of-confirming-his-sexuality-im-not-angry-or-anything\">ushered in the era of the mainstream gay rapper\u003c/a>.\u003c/p>\n\u003cp>Nowadays, queer hip-hop has taken definite steps out of the underground. Streaming algorithms suggest \u003ca href=\"https://www.autostraddle.com/the-sounds-of-gen-z-five-queer-rappers-making-waves/\">LGBTQ+ performers\u003c/a> like Doechii and Ice Spice, and veteran MCs Queen Latifah and Da Brat have finally gone public with their decided lack of heterosexuality, to the delight of legions.\u003c/p>\n\u003cp>Swagger was born to book queer hip-hop’s rising stars long before the majors were ready. On national tours as one half of the queer electro-pop duo \u003ca href=\"https://www.instagram.com/doubleduchess/\">Double Duchess\u003c/a>, davOmakesbeats realized their home of San Francisco lacked inclusive, Black and Brown community functions that would “get” the lyrics and moves he and Krylon Superstar were delivering on stage. davO’s own Caucasity aside, the beats-obsessed, Maryland-born DJ wanted to feel that energy in his adopted City by the Bay.\u003c/p>\n\u003cp>“When I came to California, I would play Baltimore club tracks and no one would know what they were,” remembers davO, who was also the founder of the sweaty Chinatown basement party Blood Sweat and Queers. “I didn’t get it. I was like, ‘Not everybody listens to this?’”\u003c/p>\n\u003cfigure id=\"attachment_13958451\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958451\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">India Sky performs at Swagger Like Us in 2019. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it’s queer, immaculate vibes you’re looking for, you could do much worse than seek out davO’s eventual collaborator, Lovemonster. The multi-hyphenate creative with Haitian roots started producing events with their “Love canvases,” paint-spattered, clothing-optional performance-happenings they convened while attending their home state of New Jersey’s Rutgers University.\u003c/p>\n\u003cp>Today, they are successful curator and party producer in Sydney, Australia, where they live with their partner Spencer Dezart-Smith (a.k.a. boyfriend) — one of the founding DJs of Swagger Like Us — and their son. True to form, one of Lovemonster’s current events, Leak Your Own Nudes, is an underwear party. By the time they came together with davO over starting a new monthly function, Lovemonster was already a local nightlife heartthrob who curated the inclusive and foxy “go-go babes” at El Rio’s marquee soul music Saturday afternoon monthly, Hard French.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> see now that this was one of the many golden ages of SF queer nightlife. In the early ’10s, you could drink affordably potent cocktails while grinding with sexy weirdos every night of the week: DJ Stanley Frank’s Viennetta Discotheque on Mondays, High Fantasy at Aunt Charlie’s on Tuesdays, Booty Call Wednesdays at Q Bar, Thursday nights at DJ Bus Station John’s Tubesteak Connection and avant-garde drag cabaret Club Something on Fridays at The Stud’s original location.\u003c/p>\n\u003cp>After a breakup, I wound up living with Lovemonster, Hard French promoter Tom Temprano and a passel of other sparkly queers and their pets in a ramshackle flat on South Van Ness Avenue. An easy drunken stumble from El Rio, our lair was the designated after for, uh, releasing the energy of the bar’s daylight-hour parties. Despite a preponderance of shenanigans, we all got along surprisingly lovingly. The last of us didn’t leave that house until many years later, when the front staircase collapsed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938947","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Even amid so much festivity, Swagger filled a void. Nearly every decade since hip-hop’s birth, Bay Area queers have made space in a genre that, much like the world at large, is all too often hampered by heteronormative rigidity. In the ’80s, Page Hodel’s The Box hosted Queen Latifah, over three decades before she came out officially. In the ’90s, DJ Olga T gave birth to the eternal (27+ years running!) Mango at El Rio. Juba Kalamka of Deep Dickollective produced the first edition of the PeaceOUT World Homo Hop Festival in 2001, and in 2003, Oakland’s electric fundraiser-dance-party Ships in the Night set sail.\u003c/p>\n\u003cp>Though Swagger is indubitably part of this proud legacy, its founders were more focused on creating a proper Bay Area stop for the countrywide queer hip-hop circuit. Their first edition featured local nightlife stars, but the crew was soon introducing growing crowds to their next Soundcloud addictions. Early lineups featured Nola bounce queens Katey Red and Sissy Nobby; UNIIQU3’s defiant Jersey club; NYC ballroom giants MikeQ and Byrell the Great; Baltimore rappers DDm and TT the Artist; and the cadre of brilliant queer hip-hop artists who at the time always seemed painfully close to breaking the genre’s glass ceiling: Le1f, Zebra Katz, Cakes Da Killa and even Princess Nokia, who delivered an early performance of “Tomboy” to the Swagger crowd at Oasis.\u003c/p>\n\u003cfigure id=\"attachment_13958453\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of these names are now Bay Area party regulars. At least in part, that’s due to their initial Swagger bookings. Eventually, the sound expanded to run the gamut of Black-rooted genres, including baile funk, the reggaeton of Mexico City’s Rosa Pistola and Latin club. The CDMX party I hosted (I’m telling you, it runs in the family), Traición, came up for a Swagger crossover Folsom Street Fair afterparty in 2017.\u003c/p>\n\u003cp>“It was the first time that I had been welcomed by a space that was so queer and Black,” remembers Saturn Risin9. The Hercules-raised performer had come up through what she calls San Francisco’s “universal” nightlife spaces, all-comer dance parties like Lights Down Low and Blow Up. “But at that time, I needed to connect with people like me,” she continues.\u003c/p>\n\u003cp>Swagger was there at every shift in her career, providing a stage for Saturn’s early, elaborate choreographies and eventually, her sets of breathy, club-ready R&B tracks that davO produced on \u003ca href=\"https://www.sfchronicle.com/music/article/Molly-House-Records-aims-to-take-LGBTQ-artists-11100671.php\">Molly House Records\u003c/a>, founded in 2017 to provide yet more amplification for the party’s talented collaborators. “It was a beautiful space for me to find ways to nurture others, and find out how I needed to be nurtured,” she recalls.\u003c/p>\n\u003cp>“It felt amazing to be celebrated as a Black queer artist in the city that I was born in,” says self-proclaimed “hyphy spiritual” and second-generation San Francisco rapper A.M.K, who adds that her Swagger appearances netted her exposure that led to out-of-state gigs. “Swagger Like Us represents the diversity and the love of the Bay Area,” A.M.K concludes.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928057","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But throwing a BIPOC hip-hop party in San Francisco has never been all positivity, as generations of promoters who’ve encountered manic police surveillance and hostile venue owners know. Lovemonster recalls an insurance company who jacked up rates for a major event when they found out Swagger’s genre of preference.\u003c/p>\n\u003cp>And the city’s evolution meant many from the event’s original crowd eventually moved out. “The only changes to the party have been by virtue of the city’s changes, which is to be expected,” says davO, who is now back in Maryland working as an addiction counselor and life coach. He left SF in 2018, the same year Lovemonster and boyfriend decamped to start their Australian family.\u003c/p>\n\u003cfigure id=\"attachment_13958454\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in March 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, a younger generation carried on with the show, hosting and eventually becoming the new face of the party. “I think Jocquese and I were synonymous on the Swagger stage because we were its little siblings,” says Saturn. “Like, if davO and Kelly were the Kardashians, we were the Kendall and Kylie.” That they have given new life to Swagger over the last six years reminds me that as one person’s San Francisco recedes, another’s celebration of the city is just starting to pop.\u003c/p>\n\u003cp>But also: “There’s a beginning and end to everything,” says Lovemonster, explaining away the end of the 12-year monthly that provided a place to dance, flirt and link when it was needed most. “Like, it’s just literally the cycle of life.”\u003c/p>\n\u003cp>There are sure to be a few tears when davO spins his classic Swagger closer “Choose Me,” a sweet, sunny Cobra Krames remix of UGK and Outkast’s “Int’l Players Anthem.” (“I just chose everybody!” davO exclaims when asked how the track made it into his heavy rotation.) Still, don’t think the finale of Swagger’s last season at El Rio will have more sad than swag.\u003c/p>\n\u003cp>At least, not according to its headliner, Cakes Da Killa: “I’m honored to be in the mix for the last hurrah, and I hope everyone pulls up and shows out.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-tickets-845752437307\">Swagger Like Us\u003c/a> will host its final monthly edition at El Rio (3158 Mission, San Francisco) on Sunday, June 2, 3-8 p.m. Tickets will be available at the door for $25. There will be an after-party at The Stud (1123-1125 Folsom Street, San Francisco) from 8 p.m.-2 a.m. \u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-the-after-party-tickets-907486976977?aff=oddtdtcreator\">Tickets available online\u003c/a> for $20, $25 at the door. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958438/swagger-like-us-queer-hip-hop-nightlife-san-francisco","authors":["byline_arts_13958438"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_8505","arts_10342","arts_10278","arts_3226","arts_4640","arts_12080","arts_1146"],"featImg":"arts_13958449","label":"arts"},"arts_13958404":{"type":"posts","id":"arts_13958404","meta":{"index":"posts_1716263798","site":"arts","id":"13958404","score":null,"sort":[1716504724000]},"guestAuthors":[],"slug":"bay-area-student-fashion-shows-2024","title":"10 Collections that Stunned at Bay Area Student Fashion Shows","publishDate":1716504724,"format":"aside","headTitle":"10 Collections that Stunned at Bay Area Student Fashion Shows | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Wearable sails, breathtaking knitwear and oversized butterfly sleeves took to the runways during the \u003ca href=\"https://www.kqed.org/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art\">Bay Area’s unofficial fashion week\u003c/a> this month. Undergraduate and graduate students at California College of the Arts, San Francisco State University and the Academy of Art debuted their thesis collections to massive applause and, in the case of one particular collection, gasps. \u003c/p>\n\u003cp>Here are 10 collections from emerging and talented designers that had my jaw on the freakin’ floor — and renewed my excitement for \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">the Bay’s unique fashion scene\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wears a mini dress by student Paulina Aguilar-Rosil during the Pulse Runway Show at SF State on May 13, 2024. The fashion exhibition showcased work by apparel design and merchandising majors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958413\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paulina Aguilar-Rosil’s plaid skirt at the SF State runway. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paulina Aguilar-Rosil’s plaid skirt and her mini dress with an exaggerated bow elicited an audible response from the runway crowd — and for good reason. The SF State student’s bold \u003cem>Pobrecita\u003c/em> collection brought Chicana aesthetics into conversation with Catholic school uniforms. The outcome was a collection that told a captivating story about Aguilar-Rosil’s Los Angeles upbringing, using specific references that made her designs stand out from other, more familiar takes on It Girl styles.\u003c/p>\n\u003cfigure id=\"attachment_13958439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13958439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hand-crocheted looks by Pamela Alcala at the California College of the Arts show on May 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the CCA show, Pamela Alcala’s hand-crocheted collection didn’t just reimagine knitwear — it built an entire world out of brushed wool. Alcala told KQED her looks were a “menswear take on [her] grandmother,” who lives in Cuernavaca, Mexico, taught Alcala how to sew and is obsessed with cats. Her designs were deliciously colorful and fresh, juxtaposing rich oranges and graying purples on playful silhouettes. Among them: nearly floor-length sleeves and cat-eared balaclavas.\u003c/p>\n\u003cfigure id=\"attachment_13958399\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg\" alt=\"model in bright pink dress with giant sleeves and gold detailing\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Dress by Jagmehak Mandhan during the Academy of Art Fashion Show on May 16, 2024. This year’s theme was ‘Uncharted Territories.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Jagmehak Mandhan’s pink look rounded the corner at the Academy of Art runway, attendees along the aisle actually gasped. Using fabrics she hand-selected from across North India and pieces of her mother’s 1989 wedding dress, Mandhan breathed exuberant life into traditional embroidery and regal silhouettes.\u003c/p>\n\u003cfigure id=\"attachment_13958416\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg\" alt=\"Woman in fuzzy pink dress surrounded by crowd\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model walks down the runway wearing Winny Qingzihua Guan’s knitwear during the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at CCA, Winny Qingzihua Guan’s knit dress, made from deconstructed N95 masks spun into yarn, was a favorite stand-alone garment. Guan’s textural details turned the dress into an ecosystem that rewarded close looking: here and there, horizontal strips of elastic from repurposed masks fluttered as the model strutted.\u003c/p>\n\u003cfigure id=\"attachment_13958411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg\" alt=\"Three models in crop tops\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Looks inspired by Bratz from SF State student designer Arnel Noquez. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnel Noquez’s collection brought every Zillenial Bratz fantasy to life at the SF State show. But beyond that iconic reference, each look was grounded in sleek craftsmanship, especially this crop top and miniskirt set with charming fur details.\u003c/p>\n\u003cfigure id=\"attachment_13958440\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg\" alt=\"Model in draped head covering, layered skirts and boots\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13958440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A design by Yiwei Wang at the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gooey center of CCA designer Yiwei Wang’s collection was a series of incredible trousers and one skirt that put texture, pattern and layering in refreshing concert with one another. Each look was completely unlike the other but united in a shared reimagining of bottoms.\u003c/p>\n\u003cfigure id=\"attachment_13958415\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg\" alt=\"Four models in wraps, beaded clothing and natural tones\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keana Pukahi De Bruce’s looks from her ‘Vanua’ collection at SF State. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keana Pukahi De Bruce debuted a gorgeous collection at the SF State show titled \u003ci>Vanua\u003c/i>, meaning “home” or “land,” that celebrated the designer’s Fijian roots and brought traditional materials into ready-to-wear. Careful shell beading, coconut fibers and a patterned fabric made from mulberry bark called masi — usually used in ceremonies — were highlights of the collection. \u003c/p>\n\u003cfigure id=\"attachment_13958419\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg\" alt=\"Black man in vest and black pants with chains and rivets walks in front of seated crowd\" width=\"2560\" height=\"1833\" class=\"size-full wp-image-13958419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wearing designs by Academy of Art student Haydée Quesedo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haydée Quesedo was another stunner at the Academy of Art show, melding punk rock with flamenco silhouettes. Quesedo’s designs delivered chains, full denim skirts and embroidered patches galore.\u003c/p>\n\u003cfigure id=\"attachment_13958418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1680\" class=\"size-full wp-image-13958418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A tulle look by Johnny UN on model Jianyan Liu at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny UN was a standout at the Academy of Art show with a striking and moody collection that surreptitiously commented on warfare, the designer told KQED. Graphic cut outs, ripped sleeves and oodles of billowing tulle dissolved into one another across UN’s looks, bringing forth feelings of disaster and detonation. The effect was foreboding and spectacular.\u003c/p>\n\u003cfigure id=\"attachment_13958441\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" class=\"size-full wp-image-13958441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, models Bob Copani, Saira Kaur and Averie Johnson pose with designer Joey Ledoux, center right, at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid many experiments in structure across the Academy of Art runway, Joey Ledoux’s were the most physically multi-dimensional. Inspired by time spent sailing with his grandfather as a kid, Ledoux transformed recreational outdoor materials — including collapsible tent poles and sails — into airy, wearable sculptures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After watching dozens of collections come down the runway, it’s clear that knitwear was the crown jewel this year. It materialized as fuzzy floor-length dresses and draping sleeves, and I was completely here for it. While many collections adhered to a more expected range of princess-y dresses and Sandy Liang-esque bows and ruching, the looks that had me gawking were the most specific: those that referenced a designer’s culture, childhood nostalgia or a grandmother who loves her granddaughter — and cats.\u003c/p>\n\n","blocks":[],"excerpt":"San Francisco fashion students dropped dozens of to-die-for looks.","status":"publish","parent":0,"modified":1717100539,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":977},"headData":{"title":"10 Collections that Stunned at Bay Area Student Fashion Shows | KQED","description":"San Francisco fashion students dropped dozens of to-die-for looks.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Collections that Stunned at Bay Area Student Fashion Shows","datePublished":"2024-05-23T15:52:04-07:00","dateModified":"2024-05-30T13:22:19-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958404","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958404/bay-area-student-fashion-shows-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wearable sails, breathtaking knitwear and oversized butterfly sleeves took to the runways during the \u003ca href=\"https://www.kqed.org/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art\">Bay Area’s unofficial fashion week\u003c/a> this month. Undergraduate and graduate students at California College of the Arts, San Francisco State University and the Academy of Art debuted their thesis collections to massive applause and, in the case of one particular collection, gasps. \u003c/p>\n\u003cp>Here are 10 collections from emerging and talented designers that had my jaw on the freakin’ floor — and renewed my excitement for \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">the Bay’s unique fashion scene\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wears a mini dress by student Paulina Aguilar-Rosil during the Pulse Runway Show at SF State on May 13, 2024. The fashion exhibition showcased work by apparel design and merchandising majors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958413\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paulina Aguilar-Rosil’s plaid skirt at the SF State runway. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paulina Aguilar-Rosil’s plaid skirt and her mini dress with an exaggerated bow elicited an audible response from the runway crowd — and for good reason. The SF State student’s bold \u003cem>Pobrecita\u003c/em> collection brought Chicana aesthetics into conversation with Catholic school uniforms. The outcome was a collection that told a captivating story about Aguilar-Rosil’s Los Angeles upbringing, using specific references that made her designs stand out from other, more familiar takes on It Girl styles.\u003c/p>\n\u003cfigure id=\"attachment_13958439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13958439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hand-crocheted looks by Pamela Alcala at the California College of the Arts show on May 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the CCA show, Pamela Alcala’s hand-crocheted collection didn’t just reimagine knitwear — it built an entire world out of brushed wool. Alcala told KQED her looks were a “menswear take on [her] grandmother,” who lives in Cuernavaca, Mexico, taught Alcala how to sew and is obsessed with cats. Her designs were deliciously colorful and fresh, juxtaposing rich oranges and graying purples on playful silhouettes. Among them: nearly floor-length sleeves and cat-eared balaclavas.\u003c/p>\n\u003cfigure id=\"attachment_13958399\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg\" alt=\"model in bright pink dress with giant sleeves and gold detailing\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Dress by Jagmehak Mandhan during the Academy of Art Fashion Show on May 16, 2024. This year’s theme was ‘Uncharted Territories.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Jagmehak Mandhan’s pink look rounded the corner at the Academy of Art runway, attendees along the aisle actually gasped. Using fabrics she hand-selected from across North India and pieces of her mother’s 1989 wedding dress, Mandhan breathed exuberant life into traditional embroidery and regal silhouettes.\u003c/p>\n\u003cfigure id=\"attachment_13958416\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg\" alt=\"Woman in fuzzy pink dress surrounded by crowd\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model walks down the runway wearing Winny Qingzihua Guan’s knitwear during the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at CCA, Winny Qingzihua Guan’s knit dress, made from deconstructed N95 masks spun into yarn, was a favorite stand-alone garment. Guan’s textural details turned the dress into an ecosystem that rewarded close looking: here and there, horizontal strips of elastic from repurposed masks fluttered as the model strutted.\u003c/p>\n\u003cfigure id=\"attachment_13958411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg\" alt=\"Three models in crop tops\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Looks inspired by Bratz from SF State student designer Arnel Noquez. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnel Noquez’s collection brought every Zillenial Bratz fantasy to life at the SF State show. But beyond that iconic reference, each look was grounded in sleek craftsmanship, especially this crop top and miniskirt set with charming fur details.\u003c/p>\n\u003cfigure id=\"attachment_13958440\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg\" alt=\"Model in draped head covering, layered skirts and boots\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13958440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A design by Yiwei Wang at the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gooey center of CCA designer Yiwei Wang’s collection was a series of incredible trousers and one skirt that put texture, pattern and layering in refreshing concert with one another. Each look was completely unlike the other but united in a shared reimagining of bottoms.\u003c/p>\n\u003cfigure id=\"attachment_13958415\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg\" alt=\"Four models in wraps, beaded clothing and natural tones\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keana Pukahi De Bruce’s looks from her ‘Vanua’ collection at SF State. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keana Pukahi De Bruce debuted a gorgeous collection at the SF State show titled \u003ci>Vanua\u003c/i>, meaning “home” or “land,” that celebrated the designer’s Fijian roots and brought traditional materials into ready-to-wear. Careful shell beading, coconut fibers and a patterned fabric made from mulberry bark called masi — usually used in ceremonies — were highlights of the collection. \u003c/p>\n\u003cfigure id=\"attachment_13958419\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg\" alt=\"Black man in vest and black pants with chains and rivets walks in front of seated crowd\" width=\"2560\" height=\"1833\" class=\"size-full wp-image-13958419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wearing designs by Academy of Art student Haydée Quesedo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haydée Quesedo was another stunner at the Academy of Art show, melding punk rock with flamenco silhouettes. Quesedo’s designs delivered chains, full denim skirts and embroidered patches galore.\u003c/p>\n\u003cfigure id=\"attachment_13958418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1680\" class=\"size-full wp-image-13958418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A tulle look by Johnny UN on model Jianyan Liu at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny UN was a standout at the Academy of Art show with a striking and moody collection that surreptitiously commented on warfare, the designer told KQED. Graphic cut outs, ripped sleeves and oodles of billowing tulle dissolved into one another across UN’s looks, bringing forth feelings of disaster and detonation. The effect was foreboding and spectacular.\u003c/p>\n\u003cfigure id=\"attachment_13958441\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" class=\"size-full wp-image-13958441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, models Bob Copani, Saira Kaur and Averie Johnson pose with designer Joey Ledoux, center right, at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid many experiments in structure across the Academy of Art runway, Joey Ledoux’s were the most physically multi-dimensional. Inspired by time spent sailing with his grandfather as a kid, Ledoux transformed recreational outdoor materials — including collapsible tent poles and sails — into airy, wearable sculptures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After watching dozens of collections come down the runway, it’s clear that knitwear was the crown jewel this year. It materialized as fuzzy floor-length dresses and draping sleeves, and I was completely here for it. While many collections adhered to a more expected range of princess-y dresses and Sandy Liang-esque bows and ruching, the looks that had me gawking were the most specific: those that referenced a designer’s culture, childhood nostalgia or a grandmother who loves her granddaughter — and cats.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958404/bay-area-student-fashion-shows-2024","authors":["11872"],"categories":["arts_1","arts_76"],"tags":["arts_5850","arts_10342","arts_1696","arts_15240","arts_9510"],"featImg":"arts_13958461","label":"arts"},"arts_13958336":{"type":"posts","id":"arts_13958336","meta":{"index":"posts_1716263798","site":"arts","id":"13958336","score":null,"sort":[1716414309000]},"guestAuthors":[],"slug":"the-coterie-den-recording-photography-video-studio-san-jose","title":"At the Coterie Den, San José Artists Work, Play and Dream","publishDate":1716414309,"format":"standard","headTitle":"At the Coterie Den, San José Artists Work, Play and Dream | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Oakland, San Francisco and Vallejo might get all the glory when it comes to producing the Bay Area’s brightest hip-hop talent, but don’t sleep on San José. Not only is it the hometown of the late \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\">hyphy architect Traxamillion\u003c/a> — who produced all-time 2000s classics like Keak Da Sneak’s “Super Hyphy” and The Jacka’s “Glamorous Lifestyle” — but it’s also where \u003ca href=\"https://www.kqed.org/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s\">DJ and producer Peanut Butter Wolf\u003c/a> started Stones Throw Records, the iconic independent label that put out classic material by Madlib, MF Doom and J Dilla during that same decade.\u003c/p>\n\u003cp>Though San José is the Bay’s most populous city, today it’s often overlooked when it comes to culture — more known for its tech workers in Tesla Cybertrucks than its music scene. But it doesn’t take much digging to see that there’s a groundswell of local artists working hard to put the 408 back on the map, and take their music beyond the Bay.\u003c/p>\n\u003cp>Their home base? \u003ca href=\"https://thecoterieden.com/?gclid=CjwKCAjwr7ayBhAPEiwA6EIGxNSvr7d6O2ylnXK4DCPlGvZlHPFCsD2nQclmHc5j3ls2ijcGDyQu3hoCZVoQAvD_BwE\">The Coterie Den\u003c/a>.\u003c/p>\n\u003cp>It’s an artist-run, D.I.Y. creative space in a basement below a Japantown nail shop. Follow its winding staircase, and inside you’ll find a recording studio; a video, photo and podcast set; and a community event space decorated with murals and canvases by local artists. The Coterie Den is usually bustling with creatives in action, and regularly hosts fashion markets, open mics and gallery shows that are open to the public.\u003c/p>\n\u003cp>Twenty-eight-year-old rapper and event producer \u003ca href=\"https://www.instagram.com/ljames408/\">LJame$\u003c/a>, aka Lucas Milan, founded the Coterie Den in late 2021 with two business partners. At the time, he felt discouraged by San José’s lack of venues and resources for up-and-coming artists, especially in hip-hop. He came close to burnout and thought about quitting music altogether.\u003c/p>\n\u003cfigure id=\"attachment_13956255\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LJame$, aka Lucas Milan, at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That changed when he and his business partners found the former grocery storage space that would become the Coterie Den. They rolled up their sleeves and put up drywall, soundproofed the studio and hired artists to repaint its salmon-colored walls with graffiti lettering and murals. Pouring his energy into the project reignited LJame$’ passion for creating, and the chance to lift up others became his motivation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Artists can come, put that work in, get their practice in, [get] those reps — right? Like you go to the gym to shoot a shot,” says LJame$, who’s now the Coterie Den’s sole owner.\u003c/p>\n\u003cp>He runs the studio while also working a tech job by day, and pretty much doesn’t sleep. But he says it’s worth it. He has a team of 10 hungry creatives working alongside him — some of whom are as young as 19.\u003c/p>\n\u003cfigure id=\"attachment_13958339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Engineer Isandro Biaco at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In-house engineer \u003ca href=\"https://www.instagram.com/isandro.flp/\">Isandro\u003c/a> — who gets constant props from everyone who stops by during our interview — taught himself to mix and master music, and saved up money from construction work for his own studio equipment. Becoming the Coterie Den’s full-time engineer has opened up new opportunities: In 2022, his own single “\u003ca href=\"https://youtu.be/doblhgONeJU?si=gQcyHUZt-Ze7x6U2\">Heart2Heart\u003c/a>” took off on TikTok, and it was his Coterie Den comrades who instructed him on how to parlay the attention into his budding solo music career.\u003c/p>\n\u003cp>“I didn’t know what to do with all this hype,” he says. “I didn’t know that you had to be consistent and drop songs and keep feeding the people to grow a fan base. … With the Den, and having the resources here, and having all these dope-ass creative people excited to show me, ‘Yo, this is how you do it,’ we’re able to make it happen.”\u003c/p>\n\u003cp>Spending an afternoon with the Coterie Den crew, it’s easy to appreciate their collaborative, sibling-like energy. “I tangibly see sometimes how I’ve grown through journal entries. We journal a lot,” reflects LJame$. “I see some of the notes from earlier meetings to now. Like, ‘Man, we want to start an open mic’ to now [having] launched a successful open mic in here.”\u003c/p>\n\u003cfigure id=\"attachment_13958341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Event coordinator Ruby Rodriguez at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A hip-hop incubator\u003c/h2>\n\u003cp>When I visit the Coterie Den during their open mic season finale in late April, \u003ca href=\"https://www.instagram.com/saysumentertainment/\">Say Sum Entertainment\u003c/a> — a young, multicultural music collective co-hosting the event — is setting up a merch table as aspiring rappers and singers file in. Tonight, the artists will be scored on song structure, beat selection and stage presence by a judges’ panel consisting of LJame$, Isandro and Say Sum founder \u003ca href=\"https://www.instagram.com/415johnjohn/\">John John\u003c/a>. The open mic winner will get free studio time at the Coterie Den and a booking at Sam Sum’s next showcase.\u003c/p>\n\u003cp>The Coterie Den’s open mics are where Say Sum Entertainment began to take off, and the collective now has a network of over 100 artists all around the Bay Area who support one another. “Something that we want to keep growing is the community, to keep letting people know that the Bay Area is not all about competition, especially when it comes to music,” says John John.\u003c/p>\n\u003cp>“I have to give the Coterie Den their flowers, because they helped me grow a lot as an artist — and even as a human being,” says rapper, content creator and Sam Sum Entertainment member \u003ca href=\"https://www.instagram.com/3ddev/\">3DDev\u003c/a>. He remembers a turning point in his music career, when he got constructive criticism at a Coterie Den open mic: “You feel like you’re on \u003cem>American Idol\u003c/em>. The next day I went to the studio and made sure I took the time to polish my skills.”\u003c/p>\n\u003cfigure id=\"attachment_13958344\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artists sign in to participate in the open mic at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s certainly nerve-wracking to get live feedback in front of your peers, and there’s a nervous, excited energy in the room as showtime approaches. I chat with rapper \u003ca href=\"https://www.instagram.com/401ksey/\">401k$ey\u003c/a>, who with a sheepish grin says it’s his second time ever getting up on stage. LJame$ starts calling artists up.\u003c/p>\n\u003cp>A rapper with twin braids and a curly mustache named \u003ca href=\"https://www.instagram.com/estevanamoroso/\">Mr. Amoroso\u003c/a> kicks the night off with a sermon about chasing paper that gets everyone nodding in agreement. A singer named \u003ca href=\"https://www.instagram.com/chloe12354/\">Chlo\u003c/a> breaks into Tinashe-esque choreography while delivering a diss track to “bitches who try to read a book by its cover.” And \u003ca href=\"https://www.instagram.com/westsidemoe_/\">Westside Moe\u003c/a> charms the room with romantic verses that take everyone back to the Ja Rule and Ashanti era of hip-hop love songs.\u003c/p>\n\u003cfigure id=\"attachment_13956261\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chlo performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The judges heap generous praise but also don’t pull back on critiques. A common refrain is that people need to lower their backing vocals and let the audience hear them. When some of the shyer artists forget to introduce themselves or let on that they’re nervous, the judges emphasize confidence and personal branding.\u003c/p>\n\u003cp>When 401k$sey goes on, the sheepish demeanor falls away and he’s shoulder-shimmying across the stage while hyping the crowd with a call-and-response hook about rolling up to the club. Everyone loses it when he suddenly switches to rapping full force in Tagalog.\u003c/p>\n\u003cp>“Pare!” Isandro exclaims in Tagalog from the judges’ table. “Yeah, bruh, for the second performance, I’m blown away. It looks like you been doing this shit.”\u003c/p>\n\u003cp>At the end of the night, Mr. Amoroso takes the crown, and everyone ends the night with smiles, hugs and fuel for their next moves.\u003c/p>\n\u003cfigure id=\"attachment_13958343\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: John John, LJame$ and Isandro. LJame$ reviews the performance of a contestant at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A melting pot in Japantown\u003c/h2>\n\u003cp>The Coterie Den is one of the newer businesses in \u003ca href=\"https://www.kqed.org/arts/13904788/san-jose-japantown-changes-minato-gombei-shuei-do-santo-market\">Japantown\u003c/a>, home to some eateries and shops that have been around since the 1940s and ’50s. As San José’s Japanese American population ages or moves away to suburbs, the neighborhood is becoming more multicultural — something reflected in its artistic expression. [aside postid='arts_13904788']\u003c/p>\n\u003cp>LJame$, who is Chicano, has been organizing car shows and artist markets with his team in Japantown, and he says it took a while for some of the old-school neighborhood merchants to embrace the Coterie Den crew. He has a supporter in fellow business owner My Nguyen, who co-founded nearby streetwear boutique \u003ca href=\"https://www.instagram.com/headliners/?hl=en\">Headliners\u003c/a> in 2011. With the addition of \u003ca href=\"https://www.instagram.com/coldwater.sj/\">Coldwater\u003c/a>, known for its \u003ca href=\"https://www.instagram.com/madebyrila/\">airbrushed sportswear\u003c/a> and in-house streetwear brand \u003ca href=\"https://www.instagram.com/juboclothing/\">Jubo\u003c/a>, there’s now a critical mass of establishments rooted in hip-hop culture in the neighborhood.\u003c/p>\n\u003cp>“Being a young, Brown gentleman in here — and Japantown [has] a board and they have a whole business association and a very tight-knit community,” LJame$ says. “My stuck up for me a lot. I appreciate him for doing that and opening up doors for us.”\u003c/p>\n\u003cfigure id=\"attachment_13958345\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">401k$ey performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crowd at Coterie Den — Chicano, Filipino, Vietnamese, Black, white — reflects that sense of solidarity. “I want to showcase that to the world because coexisting, being in places where we can all absorb the culture and learn and listen and talk to one another — that’s special,” LJame$ says. “And the world needs more of that. Not just only in the creative scene, but everywhere.”\u003c/p>\n\u003cp>“It’s like San José itself is a culture, but everybody kind of has their own culture,” says the Coterie Den’s event coordinator, \u003ca href=\"https://www.instagram.com/ruuubess/\">Ruby Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches performances during the open mic night at the Coterie Den in San Jose on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She has a major hand in the Coterie Den’s gatherings, including an even bigger open mic at last weekend’s Culture Night Market at Discovery Meadows. On May 26, the Coterie Den is hosting a \u003ca href=\"https://www.instagram.com/p/C7O98w8RUYI/?img_index=1\">Japantown vintage and thrift market\u003c/a>; on June 2, they’re sponsoring a \u003ca href=\"https://thecoterieden.com/packages/ols/categories/sunday-funday-tickets\">Sunday Funday\u003c/a> networking event and day party at nightclub Fuze SJ; and on June 3, the Coterie Den will open its doors for more networking and live performances at \u003ca href=\"https://thecoterieden.com/packages/ols/categories/innovative-meet-up-tickets\">Innovative Meetup\u003c/a>.\u003c/p>\n\u003cp>The Coterie Den team is passionate about their neighborhood. But their vision doesn’t stop there. They want to take their music beyond San José, and even beyond the Bay.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I want to have one of these in LA. I want to have one in New York. I want to take this exact culture that we’re building, and just transcend the region,” LJame$ says. “I think we have something special to show of course for our city, of course for the Bay area. … And I feel like it needs to be spread across the nation.”\u003c/p>\n\n","blocks":[],"excerpt":"The creative studio, founded by rapper LJame$, wants to take San José’s hip-hop scene nationwide. ","status":"publish","parent":0,"modified":1716502776,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1965},"headData":{"title":"At the Coterie Den, San José Artists Work, Play and Dream | KQED","description":"The creative studio, founded by rapper LJame$, wants to take San José’s hip-hop scene nationwide. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At the Coterie Den, San José Artists Work, Play and Dream","datePublished":"2024-05-22T14:45:09-07:00","dateModified":"2024-05-23T15:19:36-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958336","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958336/the-coterie-den-recording-photography-video-studio-san-jose","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland, San Francisco and Vallejo might get all the glory when it comes to producing the Bay Area’s brightest hip-hop talent, but don’t sleep on San José. Not only is it the hometown of the late \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\">hyphy architect Traxamillion\u003c/a> — who produced all-time 2000s classics like Keak Da Sneak’s “Super Hyphy” and The Jacka’s “Glamorous Lifestyle” — but it’s also where \u003ca href=\"https://www.kqed.org/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s\">DJ and producer Peanut Butter Wolf\u003c/a> started Stones Throw Records, the iconic independent label that put out classic material by Madlib, MF Doom and J Dilla during that same decade.\u003c/p>\n\u003cp>Though San José is the Bay’s most populous city, today it’s often overlooked when it comes to culture — more known for its tech workers in Tesla Cybertrucks than its music scene. But it doesn’t take much digging to see that there’s a groundswell of local artists working hard to put the 408 back on the map, and take their music beyond the Bay.\u003c/p>\n\u003cp>Their home base? \u003ca href=\"https://thecoterieden.com/?gclid=CjwKCAjwr7ayBhAPEiwA6EIGxNSvr7d6O2ylnXK4DCPlGvZlHPFCsD2nQclmHc5j3ls2ijcGDyQu3hoCZVoQAvD_BwE\">The Coterie Den\u003c/a>.\u003c/p>\n\u003cp>It’s an artist-run, D.I.Y. creative space in a basement below a Japantown nail shop. Follow its winding staircase, and inside you’ll find a recording studio; a video, photo and podcast set; and a community event space decorated with murals and canvases by local artists. The Coterie Den is usually bustling with creatives in action, and regularly hosts fashion markets, open mics and gallery shows that are open to the public.\u003c/p>\n\u003cp>Twenty-eight-year-old rapper and event producer \u003ca href=\"https://www.instagram.com/ljames408/\">LJame$\u003c/a>, aka Lucas Milan, founded the Coterie Den in late 2021 with two business partners. At the time, he felt discouraged by San José’s lack of venues and resources for up-and-coming artists, especially in hip-hop. He came close to burnout and thought about quitting music altogether.\u003c/p>\n\u003cfigure id=\"attachment_13956255\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LJame$, aka Lucas Milan, at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That changed when he and his business partners found the former grocery storage space that would become the Coterie Den. They rolled up their sleeves and put up drywall, soundproofed the studio and hired artists to repaint its salmon-colored walls with graffiti lettering and murals. Pouring his energy into the project reignited LJame$’ passion for creating, and the chance to lift up others became his motivation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Artists can come, put that work in, get their practice in, [get] those reps — right? Like you go to the gym to shoot a shot,” says LJame$, who’s now the Coterie Den’s sole owner.\u003c/p>\n\u003cp>He runs the studio while also working a tech job by day, and pretty much doesn’t sleep. But he says it’s worth it. He has a team of 10 hungry creatives working alongside him — some of whom are as young as 19.\u003c/p>\n\u003cfigure id=\"attachment_13958339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Engineer Isandro Biaco at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In-house engineer \u003ca href=\"https://www.instagram.com/isandro.flp/\">Isandro\u003c/a> — who gets constant props from everyone who stops by during our interview — taught himself to mix and master music, and saved up money from construction work for his own studio equipment. Becoming the Coterie Den’s full-time engineer has opened up new opportunities: In 2022, his own single “\u003ca href=\"https://youtu.be/doblhgONeJU?si=gQcyHUZt-Ze7x6U2\">Heart2Heart\u003c/a>” took off on TikTok, and it was his Coterie Den comrades who instructed him on how to parlay the attention into his budding solo music career.\u003c/p>\n\u003cp>“I didn’t know what to do with all this hype,” he says. “I didn’t know that you had to be consistent and drop songs and keep feeding the people to grow a fan base. … With the Den, and having the resources here, and having all these dope-ass creative people excited to show me, ‘Yo, this is how you do it,’ we’re able to make it happen.”\u003c/p>\n\u003cp>Spending an afternoon with the Coterie Den crew, it’s easy to appreciate their collaborative, sibling-like energy. “I tangibly see sometimes how I’ve grown through journal entries. We journal a lot,” reflects LJame$. “I see some of the notes from earlier meetings to now. Like, ‘Man, we want to start an open mic’ to now [having] launched a successful open mic in here.”\u003c/p>\n\u003cfigure id=\"attachment_13958341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Event coordinator Ruby Rodriguez at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A hip-hop incubator\u003c/h2>\n\u003cp>When I visit the Coterie Den during their open mic season finale in late April, \u003ca href=\"https://www.instagram.com/saysumentertainment/\">Say Sum Entertainment\u003c/a> — a young, multicultural music collective co-hosting the event — is setting up a merch table as aspiring rappers and singers file in. Tonight, the artists will be scored on song structure, beat selection and stage presence by a judges’ panel consisting of LJame$, Isandro and Say Sum founder \u003ca href=\"https://www.instagram.com/415johnjohn/\">John John\u003c/a>. The open mic winner will get free studio time at the Coterie Den and a booking at Sam Sum’s next showcase.\u003c/p>\n\u003cp>The Coterie Den’s open mics are where Say Sum Entertainment began to take off, and the collective now has a network of over 100 artists all around the Bay Area who support one another. “Something that we want to keep growing is the community, to keep letting people know that the Bay Area is not all about competition, especially when it comes to music,” says John John.\u003c/p>\n\u003cp>“I have to give the Coterie Den their flowers, because they helped me grow a lot as an artist — and even as a human being,” says rapper, content creator and Sam Sum Entertainment member \u003ca href=\"https://www.instagram.com/3ddev/\">3DDev\u003c/a>. He remembers a turning point in his music career, when he got constructive criticism at a Coterie Den open mic: “You feel like you’re on \u003cem>American Idol\u003c/em>. The next day I went to the studio and made sure I took the time to polish my skills.”\u003c/p>\n\u003cfigure id=\"attachment_13958344\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artists sign in to participate in the open mic at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s certainly nerve-wracking to get live feedback in front of your peers, and there’s a nervous, excited energy in the room as showtime approaches. I chat with rapper \u003ca href=\"https://www.instagram.com/401ksey/\">401k$ey\u003c/a>, who with a sheepish grin says it’s his second time ever getting up on stage. LJame$ starts calling artists up.\u003c/p>\n\u003cp>A rapper with twin braids and a curly mustache named \u003ca href=\"https://www.instagram.com/estevanamoroso/\">Mr. Amoroso\u003c/a> kicks the night off with a sermon about chasing paper that gets everyone nodding in agreement. A singer named \u003ca href=\"https://www.instagram.com/chloe12354/\">Chlo\u003c/a> breaks into Tinashe-esque choreography while delivering a diss track to “bitches who try to read a book by its cover.” And \u003ca href=\"https://www.instagram.com/westsidemoe_/\">Westside Moe\u003c/a> charms the room with romantic verses that take everyone back to the Ja Rule and Ashanti era of hip-hop love songs.\u003c/p>\n\u003cfigure id=\"attachment_13956261\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chlo performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The judges heap generous praise but also don’t pull back on critiques. A common refrain is that people need to lower their backing vocals and let the audience hear them. When some of the shyer artists forget to introduce themselves or let on that they’re nervous, the judges emphasize confidence and personal branding.\u003c/p>\n\u003cp>When 401k$sey goes on, the sheepish demeanor falls away and he’s shoulder-shimmying across the stage while hyping the crowd with a call-and-response hook about rolling up to the club. Everyone loses it when he suddenly switches to rapping full force in Tagalog.\u003c/p>\n\u003cp>“Pare!” Isandro exclaims in Tagalog from the judges’ table. “Yeah, bruh, for the second performance, I’m blown away. It looks like you been doing this shit.”\u003c/p>\n\u003cp>At the end of the night, Mr. Amoroso takes the crown, and everyone ends the night with smiles, hugs and fuel for their next moves.\u003c/p>\n\u003cfigure id=\"attachment_13958343\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: John John, LJame$ and Isandro. LJame$ reviews the performance of a contestant at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A melting pot in Japantown\u003c/h2>\n\u003cp>The Coterie Den is one of the newer businesses in \u003ca href=\"https://www.kqed.org/arts/13904788/san-jose-japantown-changes-minato-gombei-shuei-do-santo-market\">Japantown\u003c/a>, home to some eateries and shops that have been around since the 1940s and ’50s. As San José’s Japanese American population ages or moves away to suburbs, the neighborhood is becoming more multicultural — something reflected in its artistic expression. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904788","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>LJame$, who is Chicano, has been organizing car shows and artist markets with his team in Japantown, and he says it took a while for some of the old-school neighborhood merchants to embrace the Coterie Den crew. He has a supporter in fellow business owner My Nguyen, who co-founded nearby streetwear boutique \u003ca href=\"https://www.instagram.com/headliners/?hl=en\">Headliners\u003c/a> in 2011. With the addition of \u003ca href=\"https://www.instagram.com/coldwater.sj/\">Coldwater\u003c/a>, known for its \u003ca href=\"https://www.instagram.com/madebyrila/\">airbrushed sportswear\u003c/a> and in-house streetwear brand \u003ca href=\"https://www.instagram.com/juboclothing/\">Jubo\u003c/a>, there’s now a critical mass of establishments rooted in hip-hop culture in the neighborhood.\u003c/p>\n\u003cp>“Being a young, Brown gentleman in here — and Japantown [has] a board and they have a whole business association and a very tight-knit community,” LJame$ says. “My stuck up for me a lot. I appreciate him for doing that and opening up doors for us.”\u003c/p>\n\u003cfigure id=\"attachment_13958345\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">401k$ey performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crowd at Coterie Den — Chicano, Filipino, Vietnamese, Black, white — reflects that sense of solidarity. “I want to showcase that to the world because coexisting, being in places where we can all absorb the culture and learn and listen and talk to one another — that’s special,” LJame$ says. “And the world needs more of that. Not just only in the creative scene, but everywhere.”\u003c/p>\n\u003cp>“It’s like San José itself is a culture, but everybody kind of has their own culture,” says the Coterie Den’s event coordinator, \u003ca href=\"https://www.instagram.com/ruuubess/\">Ruby Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches performances during the open mic night at the Coterie Den in San Jose on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She has a major hand in the Coterie Den’s gatherings, including an even bigger open mic at last weekend’s Culture Night Market at Discovery Meadows. On May 26, the Coterie Den is hosting a \u003ca href=\"https://www.instagram.com/p/C7O98w8RUYI/?img_index=1\">Japantown vintage and thrift market\u003c/a>; on June 2, they’re sponsoring a \u003ca href=\"https://thecoterieden.com/packages/ols/categories/sunday-funday-tickets\">Sunday Funday\u003c/a> networking event and day party at nightclub Fuze SJ; and on June 3, the Coterie Den will open its doors for more networking and live performances at \u003ca href=\"https://thecoterieden.com/packages/ols/categories/innovative-meet-up-tickets\">Innovative Meetup\u003c/a>.\u003c/p>\n\u003cp>The Coterie Den team is passionate about their neighborhood. But their vision doesn’t stop there. They want to take their music beyond San José, and even beyond the Bay.\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>“I want to have one of these in LA. I want to have one in New York. I want to take this exact culture that we’re building, and just transcend the region,” LJame$ says. “I think we have something special to show of course for our city, of course for the Bay area. … And I feel like it needs to be spread across the nation.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958336/the-coterie-den-recording-photography-video-studio-san-jose","authors":["11387"],"categories":["arts_1","arts_835","arts_69","arts_235"],"tags":["arts_8505","arts_10342","arts_10278","arts_831","arts_1084"],"featImg":"arts_13958340","label":"arts"},"arts_13958007":{"type":"posts","id":"arts_13958007","meta":{"index":"posts_1716263798","site":"arts","id":"13958007","score":null,"sort":[1715897916000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1715897916,"format":"standard","title":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts","headTitle":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts | KQED","content":"\u003cp>A new CEO has stepped in to lead \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> (YBCA), the embattled San Francisco arts organization whose \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">previous interim CEO abruptly resigned\u003c/a> in March during the fallout of a pro-Palestinian protest.\u003c/p>\n\u003cp>Jim Rettew, the new interim CEO, has previously held five interim leadership roles at various nonprofits. His background as a crisis management expert will be put to the test at YBCA, which has been embroiled in controversy since a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">Feb. 15 protest\u003c/a> during which eight artists spray painted and draped pro-Palestinian messages onto their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13958014\" class=\"wp-caption aligncenter\" style=\"max-width: 906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg\" alt=\"\" width=\"906\" height=\"1155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-768x979.jpg 768w\" sizes=\"(max-width: 906px) 100vw, 906px\">\u003cfigcaption class=\"wp-caption-text\">Jim Rettew is YBCA’s new interim CEO. \u003ccite>(Jim Rettew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the protest, former interim CEO Sara Fenske Bahat and the board closed the galleries, which remained shuttered for a month. In open letters, \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">artists\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">staff\u003c/a> accused YBCA leaders of censorship. Bahat resigned on March 3, citing “antisemitic backlash” and “the actions of some of our own employees” in her letter to the board. (Staff and leadership denied each other’s allegations.) San Francisco Supervisor Hillary Ronen, meanwhile, voiced support for the artists, and proposed an examination of the city’s support of YBCA at an upcoming Board of Supervisors meeting.\u003c/p>\n\u003cp>[aside postid='arts_13952460,arts_13953653']YBCA reopened in mid-March, but the turmoil continued. At least nine staff members have resigned in protest, according to employee comments during a public meeting. And YBCA now faces scrutiny from San Francisco’s Director of Cultural Affairs, who has proposed changes that would drastically alter how YBCA operates.\u003c/p>\n\u003cp>In an email interview, Rettew told KQED that he sees rebuilding public trust as one of YBCA’s biggest challenges, and that he’s spent his first few weeks on the job listening to employees.\u003c/p>\n\u003cp>“I’m now using those essential conversations to work with our staff to help deliver on the promises and aspirations of our organization,” he wrote. “I think that in many ways, the protest on Feb. 15 was a reflection of people asking the question: what do people expect from a cultural institution in 2024? We are working tirelessly to try to answer that question, and to create a space that is authentic and valuable to the public.”\u003c/p>\n\u003cfigure id=\"attachment_13954248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Artists Against Genocide (B.A.A.A.G.) member Paz G displays design options at a screen-printing event artists organized outside of YBCA while the art center was closed in March 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An art center on taxpayer-funded property\u003c/h2>\n\u003cp>YBCA is under particular scrutiny because the private nonprofit enjoys significant, taxpayer-funded subsidies from the City and County of San Francisco. It occupies a city-owned building, rent free, on public land under a contract that’s subject to renewal through 2094. YBCA has also received tens of millions in taxpayer dollars since its founding in 1993; according to its most recent financial report, for fiscal year 2023, about 6% of its revenue and support came from the City and County of San Francisco. [ad fullwidth]\u003c/p>\n\u003cp>Yerba Buena Gardens Conservancy, another nonprofit, manages the YBCA property, acting as an intermediary between YBCA and the city. In exchange for financial support and subsidies, YBCA is contractually obligated to offer “high-quality artistic programming to San Francisco residents and visitors.”\u003c/p>\n\u003cp>At the Conservancy’s most recent public board meeting on April 10, San Francisco’s Director of Cultural Affairs, Ralph Remington, sharply criticized YBCA for what he considers its failure to do so.\u003c/p>\n\u003cp>“With the level of subsidy YBCA receives … they should have been operating and maintaining the cultural facilities in a way that presents themselves as a world-class performing arts presenting, producing, exhibiting organization,” Remington said. “You’d have to go back into the distant past to see when that actually happened.”\u003c/p>\n\u003cfigure id=\"attachment_13958015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs Ralph Remington said YBCA needs to be ‘reined in’ at a recent board meeting. \u003ccite>(Aminda Villa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, YBCA significantly reduced its film programming in 2018 after \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">laying off the two-person department\u003c/a>. In 2020, it launched the \u003ca href=\"https://www.kqed.org/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists\">Artist Power Center\u003c/a>, an online platform meant to connect artists to grants and job opportunities; it has since sunsetted that project.\u003c/p>\n\u003cp>“It turned into some kind of weird thinktank that should’ve been out in the woods somewhere, maybe,” said Remington at the Conservancy board meeting. “But for the level of public subsidy in the middle of the city … YBCA, in my opinion, needs to be reined in.”\u003c/p>\n\u003cp>At the board meeting, Remington contrasted YBCA with SOMArts, a significantly less resourced nonprofit that’s also located in a city-owned building. While YBCA enjoys a spacious, modern, centrally located facility, SOMArts needs significant seismic improvements, and is in a much less desirable location, below a freeway underpass and away from BART and downtown offices. [aside postid='arts_13955613']\u003c/p>\n\u003cp>“I would put on the table that we could move SOMArts into YBCA to share with SOMA Pilipinas,” said Remington, referring to another vibrant, less resourced arts organization, “and they could activate the building.”\u003c/p>\n\u003cp>In a follow-up interview, Remington told KQED that these proposals are in their “embryonic” stages. He credited the Feb. 15 protesters, who now call themselves Bay Area Artists Against Genocide, with spurring important conversations about reforms at YBCA.\u003c/p>\n\u003cp>“I think the activists ultimately were successful because they drew attention to the issues at YBCA; they drew attention to the issue that they were actually protesting about,” he said in a video call. “And they brought about ultimate change that will happen with that organization as a result of these bold actions. … This is why civil disobedience and protest and having your voice heard is so important.”\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staff members reveal a schism with leadership\u003c/h2>\n\u003cp>During the April 10 Conservancy board meeting, a handful of YBCA staff members spoke out during public comment, painting an image of broken trust between the art center’s leadership and YBCA workers. The employees said that, even amid leadership changes, they’ve spent years building relationships with artists and the public, and they now feel those relationships are in jeopardy due to the actions of the board and former CEO.\u003c/p>\n\u003cp>Rettew told KQED that he sees rebuilding trust with staff as one of his first priorities. (He declined to comment on recent staff resignations.) He also said that he’s working to make sure the art center fulfills its commitment to the city and its visitors.\u003c/p>\n\u003cp>“I cannot undo decisions that were made, or change what happened,” he said. “What I can do is help this organization move forward with integrity.” [aside postid='arts_13956575']\u003c/p>\n\u003cp>When asked about issues raised in the Feb. 15 protest, Rettew said YBCA would not join the Palestinian Campaign for an Academic and Cultural Boycott of Israel (PACBI), as artists demanded. (The boycott encourages international institutions to divest from Israeli institutions until Israel ends its siege and occupation of Gaza and the West Bank, among other conditions.)\u003c/p>\n\u003cp>When asked if YBCA would take a different approach to political messages in artists’ work, Rettew didn’t specify any changes. But he said that the censorship allegations “remain one of the most challenging and contentious issues of the past few months,” and underscored the institutions’ need to balance artistic expression with curatorial context.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rettew is now focused on YBCA’s upcoming programming. “I recognize that it is now our job to prove ourselves as a trustworthy partner to the community, and to artists, and the way that we will do that is by doubling down on our commitment to put on engaging and thought-provoking exhibitions, by filling our theater as many nights as possible, by putting together compelling public programs, and by working with our neighbors to continue the important work of bringing people downtown to the Yerba Buena District,” he wrote.\u003c/p>\n\u003cp>YBCA’s next exhibition, a \u003ca href=\"https://ybca.org/ybca-announces-nick-dong-11-to-88-an-immersive-solo-exhibition/\">solo show by Oakland artist Nick Dong\u003c/a>, opens on June 6 and will be on view through Aug. 25. A spring dance festival presented by San Francisco Ballet School is slated for May 22-24; there’s also a free, all-ages art workshop scheduled for May 22.\u003c/p>\n\u003cp>Meanwhile, Remington hopes the Yerba Buena Gardens Conservancy will arrive at a plan of action for YBCA by the fall. The proposed San Francisco Board of Supervisors public hearing on censorship allegations at YBCA has not been scheduled.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1524,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":25},"modified":1715980497,"excerpt":"Interim CEO Jim Rettew wants to rebuild public trust after the art center's censorship controversies. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Interim CEO Jim Rettew wants to rebuild public trust after the art center's censorship controversies. ","title":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts","datePublished":"2024-05-16T15:18:36-07:00","dateModified":"2024-05-17T14:14:57-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"ybca-new-interim-ceo-jim-rettew","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","nprStoryId":"kqed-13958007","path":"/arts/13958007/ybca-new-interim-ceo-jim-rettew","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new CEO has stepped in to lead \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> (YBCA), the embattled San Francisco arts organization whose \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">previous interim CEO abruptly resigned\u003c/a> in March during the fallout of a pro-Palestinian protest.\u003c/p>\n\u003cp>Jim Rettew, the new interim CEO, has previously held five interim leadership roles at various nonprofits. His background as a crisis management expert will be put to the test at YBCA, which has been embroiled in controversy since a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">Feb. 15 protest\u003c/a> during which eight artists spray painted and draped pro-Palestinian messages onto their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13958014\" class=\"wp-caption aligncenter\" style=\"max-width: 906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg\" alt=\"\" width=\"906\" height=\"1155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-768x979.jpg 768w\" sizes=\"(max-width: 906px) 100vw, 906px\">\u003cfigcaption class=\"wp-caption-text\">Jim Rettew is YBCA’s new interim CEO. \u003ccite>(Jim Rettew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the protest, former interim CEO Sara Fenske Bahat and the board closed the galleries, which remained shuttered for a month. In open letters, \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">artists\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">staff\u003c/a> accused YBCA leaders of censorship. Bahat resigned on March 3, citing “antisemitic backlash” and “the actions of some of our own employees” in her letter to the board. (Staff and leadership denied each other’s allegations.) San Francisco Supervisor Hillary Ronen, meanwhile, voiced support for the artists, and proposed an examination of the city’s support of YBCA at an upcoming Board of Supervisors meeting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952460,arts_13953653","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>YBCA reopened in mid-March, but the turmoil continued. At least nine staff members have resigned in protest, according to employee comments during a public meeting. And YBCA now faces scrutiny from San Francisco’s Director of Cultural Affairs, who has proposed changes that would drastically alter how YBCA operates.\u003c/p>\n\u003cp>In an email interview, Rettew told KQED that he sees rebuilding public trust as one of YBCA’s biggest challenges, and that he’s spent his first few weeks on the job listening to employees.\u003c/p>\n\u003cp>“I’m now using those essential conversations to work with our staff to help deliver on the promises and aspirations of our organization,” he wrote. “I think that in many ways, the protest on Feb. 15 was a reflection of people asking the question: what do people expect from a cultural institution in 2024? We are working tirelessly to try to answer that question, and to create a space that is authentic and valuable to the public.”\u003c/p>\n\u003cfigure id=\"attachment_13954248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Artists Against Genocide (B.A.A.A.G.) member Paz G displays design options at a screen-printing event artists organized outside of YBCA while the art center was closed in March 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An art center on taxpayer-funded property\u003c/h2>\n\u003cp>YBCA is under particular scrutiny because the private nonprofit enjoys significant, taxpayer-funded subsidies from the City and County of San Francisco. It occupies a city-owned building, rent free, on public land under a contract that’s subject to renewal through 2094. YBCA has also received tens of millions in taxpayer dollars since its founding in 1993; according to its most recent financial report, for fiscal year 2023, about 6% of its revenue and support came from the City and County of San Francisco. \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>Yerba Buena Gardens Conservancy, another nonprofit, manages the YBCA property, acting as an intermediary between YBCA and the city. In exchange for financial support and subsidies, YBCA is contractually obligated to offer “high-quality artistic programming to San Francisco residents and visitors.”\u003c/p>\n\u003cp>At the Conservancy’s most recent public board meeting on April 10, San Francisco’s Director of Cultural Affairs, Ralph Remington, sharply criticized YBCA for what he considers its failure to do so.\u003c/p>\n\u003cp>“With the level of subsidy YBCA receives … they should have been operating and maintaining the cultural facilities in a way that presents themselves as a world-class performing arts presenting, producing, exhibiting organization,” Remington said. “You’d have to go back into the distant past to see when that actually happened.”\u003c/p>\n\u003cfigure id=\"attachment_13958015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs Ralph Remington said YBCA needs to be ‘reined in’ at a recent board meeting. \u003ccite>(Aminda Villa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, YBCA significantly reduced its film programming in 2018 after \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">laying off the two-person department\u003c/a>. In 2020, it launched the \u003ca href=\"https://www.kqed.org/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists\">Artist Power Center\u003c/a>, an online platform meant to connect artists to grants and job opportunities; it has since sunsetted that project.\u003c/p>\n\u003cp>“It turned into some kind of weird thinktank that should’ve been out in the woods somewhere, maybe,” said Remington at the Conservancy board meeting. “But for the level of public subsidy in the middle of the city … YBCA, in my opinion, needs to be reined in.”\u003c/p>\n\u003cp>At the board meeting, Remington contrasted YBCA with SOMArts, a significantly less resourced nonprofit that’s also located in a city-owned building. While YBCA enjoys a spacious, modern, centrally located facility, SOMArts needs significant seismic improvements, and is in a much less desirable location, below a freeway underpass and away from BART and downtown offices. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955613","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I would put on the table that we could move SOMArts into YBCA to share with SOMA Pilipinas,” said Remington, referring to another vibrant, less resourced arts organization, “and they could activate the building.”\u003c/p>\n\u003cp>In a follow-up interview, Remington told KQED that these proposals are in their “embryonic” stages. He credited the Feb. 15 protesters, who now call themselves Bay Area Artists Against Genocide, with spurring important conversations about reforms at YBCA.\u003c/p>\n\u003cp>“I think the activists ultimately were successful because they drew attention to the issues at YBCA; they drew attention to the issue that they were actually protesting about,” he said in a video call. “And they brought about ultimate change that will happen with that organization as a result of these bold actions. … This is why civil disobedience and protest and having your voice heard is so important.”\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staff members reveal a schism with leadership\u003c/h2>\n\u003cp>During the April 10 Conservancy board meeting, a handful of YBCA staff members spoke out during public comment, painting an image of broken trust between the art center’s leadership and YBCA workers. The employees said that, even amid leadership changes, they’ve spent years building relationships with artists and the public, and they now feel those relationships are in jeopardy due to the actions of the board and former CEO.\u003c/p>\n\u003cp>Rettew told KQED that he sees rebuilding trust with staff as one of his first priorities. (He declined to comment on recent staff resignations.) He also said that he’s working to make sure the art center fulfills its commitment to the city and its visitors.\u003c/p>\n\u003cp>“I cannot undo decisions that were made, or change what happened,” he said. “What I can do is help this organization move forward with integrity.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956575","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When asked about issues raised in the Feb. 15 protest, Rettew said YBCA would not join the Palestinian Campaign for an Academic and Cultural Boycott of Israel (PACBI), as artists demanded. (The boycott encourages international institutions to divest from Israeli institutions until Israel ends its siege and occupation of Gaza and the West Bank, among other conditions.)\u003c/p>\n\u003cp>When asked if YBCA would take a different approach to political messages in artists’ work, Rettew didn’t specify any changes. But he said that the censorship allegations “remain one of the most challenging and contentious issues of the past few months,” and underscored the institutions’ need to balance artistic expression with curatorial context.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rettew is now focused on YBCA’s upcoming programming. “I recognize that it is now our job to prove ourselves as a trustworthy partner to the community, and to artists, and the way that we will do that is by doubling down on our commitment to put on engaging and thought-provoking exhibitions, by filling our theater as many nights as possible, by putting together compelling public programs, and by working with our neighbors to continue the important work of bringing people downtown to the Yerba Buena District,” he wrote.\u003c/p>\n\u003cp>YBCA’s next exhibition, a \u003ca href=\"https://ybca.org/ybca-announces-nick-dong-11-to-88-an-immersive-solo-exhibition/\">solo show by Oakland artist Nick Dong\u003c/a>, opens on June 6 and will be on view through Aug. 25. A spring dance festival presented by San Francisco Ballet School is slated for May 22-24; there’s also a free, all-ages art workshop scheduled for May 22.\u003c/p>\n\u003cp>Meanwhile, Remington hopes the Yerba Buena Gardens Conservancy will arrive at a plan of action for YBCA by the fall. The proposed San Francisco Board of Supervisors public hearing on censorship allegations at YBCA has not been scheduled.\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958007/ybca-new-interim-ceo-jim-rettew","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_10342","arts_10278","arts_3648","arts_1146","arts_1040","arts_1955"],"featImg":"arts_13954250","label":"arts"},"arts_13957645":{"type":"posts","id":"arts_13957645","meta":{"index":"posts_1716263798","site":"arts","id":"13957645","score":null,"sort":[1715374658000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1715374658,"format":"aside","title":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco","headTitle":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco | KQED","content":"\u003cfigure id=\"attachment_13957614\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png\" alt=\"A computer rendering of a 17-story building, on a street with people and cars.\" width=\"2160\" height=\"2160\" class=\"size-full wp-image-13957614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1920x1920.png 1920w\" sizes=\"(max-width: 2160px) 100vw, 2160px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the proposed artist housing at 1687 Market Street, planned with 100 affordable artist units, studio and rehearsal spaces, a community center and a black box theater. \u003ccite>(Mark Cavagnero Associates Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new San Francisco development that would provide affordable housing and studio space for artists took its first step toward completion Friday.\u003c/p>\n\u003cp>Buoyed by a $100 million gift from an anonymous donor, two nonprofits, \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/880678308\">Artists Hub on Market\u003c/a> and \u003ca href=\"https://www.mercyhousing.org/california/\">Mercy Housing of California\u003c/a>, filed plans with the city for 1687 Market St., the current site of the McRoskey Mattress Co. showroom.\u003c/p>\n\u003cp>The plans call for a 17-story building with 100 affordable apartments for artists, as well as studio space, practice rooms, a community center and a 99-seat black box theater. Though the construction price is not finalized, the gift was “based around the initial estimate” for such a project, according to \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline\u003c/a>, the president of Artists Hub on Market.\u003c/p>\n\u003cp>[aside postID='news_11973656']Kline said the project was inspired by the ongoing exodus of artists priced out of San Francisco as rents have skyrocketed and spaces closed. \u003c/p>\n\u003cp>“When I came to San Francisco almost 50 years ago, I was an aspiring artist, and I could live quite cheaply here,” he said. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think everyone’s in agreement that this would be a really great thing for the benefit of artists and the cultural life of San Francisco,” said Kline, who as founder and former director of SFJAZZ shepherded construction of the $64 million SFJAZZ Center, which opened in 2013 at Franklin and Fell Streets, six blocks from the proposed housing.\u003c/p>\n\u003cfigure id=\"attachment_13928729\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SFJAZZ founder Randall Kline accepts the Lifetime Achievement Award at the organization’s annual gala in San Francisco on May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Kline, both Mayor London Breed and San Francisco’s planning department have so far been enthusiastic about the project, known simply as 1687 Market. The project would be fast-tracked by \u003ca href=\"https://www.kqed.org/news/11923146/these-california-affordable-housing-bills-could-create-more-than-a-million-apartments-if-labor-unions-can-agree-on-terms\">Assembly Bill 2011\u003c/a>, approved in 2022, which encourages affordable housing on commercially zoned land.\u003c/p>\n\u003cp>The hope is to begin construction in late 2025, with completion sometime in 2027. Overseeing the project is San Francisco architect \u003ca href=\"https://www.cavagnero.com/\">Mark Cavagnero\u003c/a>, whose projects include the SFJAZZ Center as well as the nearby San Francisco Conservatory of Music. \u003c/p>\n\u003cp>[aside postID='arts_13910898']It is “far too soon” to provide an estimated monthly rent for space at 1687 Market, Kline said. Applications for artist housing in San Francisco are typically subject to a lottery, though \u003ca href=\"https://www.kqed.org/arts/13828581/san-francisco-looks-to-create-low-cost-housing-preference-for-artists\">that process has at times been onerous\u003c/a>. \u003c/p>\n\u003cp>As an inspiration for 1867 Market, Kline cited New York City’s Manhattan Plaza, an artist building that has been home to many jazz musicians, as well as singer Alicia Keys, writer Tennessee Williams, actor Timothée Chalamet and others.\u003c/p>\n\u003cp>“There’s a building older than that, also, called Westbeth,” Kline said, referring to the downtown New York building that has housed jazz guitarist John Scofield, visual artist Nam June Paik, choreographer Merce Cunningham and actor Robert de Niro.\u003c/p>\n\u003cfigure id=\"attachment_13957654\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg\" alt=\"\" width=\"1920\" height=\"1304\" class=\"size-full wp-image-13957654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1536x1043.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robin McRoskey Azevedo, pictured in 2010 at the McRoskey Mattress Co. on Market Street in San Francisco. The building site is planned for new artist housing. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The existing \u003ca href=\"https://www.mcroskey.com/heritage\">McRoskey Mattress Co.\u003c/a> building would be demolished to make way for the new housing. Building owner Robin McRoskey Azevedo sold the mattress company, which was founded in 1899, to Fresno-based Pleasant Mattress in 2018. In its factory loft, the building has hosted events with the San Francisco Silent Film Festival, for which Azevedo is a board member. \u003c/p>\n\u003cp>The project is coming about thanks to a combination of AB 2011, support from the city and a central location, Kline said, as well as \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">his decision last year to step down from SFJAZZ\u003c/a>. The anonymous donor, meanwhile, was crucial. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, what a gift to the city,” Kline said. “This is really a person who doesn’t care about notoriety, but does care about the artistic and cultural life of the city.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":688,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":16},"modified":1715977809,"excerpt":"Plans for the 100-unit building on Market Street were filed with the city on Friday.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Plans for the 100-unit building on Market Street were filed with the city on Friday.","title":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco","datePublished":"2024-05-10T13:57:38-07:00","dateModified":"2024-05-17T13:30:09-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","nprStoryId":"kqed-13957645","path":"/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957614\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png\" alt=\"A computer rendering of a 17-story building, on a street with people and cars.\" width=\"2160\" height=\"2160\" class=\"size-full wp-image-13957614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1920x1920.png 1920w\" sizes=\"(max-width: 2160px) 100vw, 2160px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the proposed artist housing at 1687 Market Street, planned with 100 affordable artist units, studio and rehearsal spaces, a community center and a black box theater. \u003ccite>(Mark Cavagnero Associates Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new San Francisco development that would provide affordable housing and studio space for artists took its first step toward completion Friday.\u003c/p>\n\u003cp>Buoyed by a $100 million gift from an anonymous donor, two nonprofits, \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/880678308\">Artists Hub on Market\u003c/a> and \u003ca href=\"https://www.mercyhousing.org/california/\">Mercy Housing of California\u003c/a>, filed plans with the city for 1687 Market St., the current site of the McRoskey Mattress Co. showroom.\u003c/p>\n\u003cp>The plans call for a 17-story building with 100 affordable apartments for artists, as well as studio space, practice rooms, a community center and a 99-seat black box theater. Though the construction price is not finalized, the gift was “based around the initial estimate” for such a project, according to \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline\u003c/a>, the president of Artists Hub on Market.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11973656","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Kline said the project was inspired by the ongoing exodus of artists priced out of San Francisco as rents have skyrocketed and spaces closed. \u003c/p>\n\u003cp>“When I came to San Francisco almost 50 years ago, I was an aspiring artist, and I could live quite cheaply here,” he said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think everyone’s in agreement that this would be a really great thing for the benefit of artists and the cultural life of San Francisco,” said Kline, who as founder and former director of SFJAZZ shepherded construction of the $64 million SFJAZZ Center, which opened in 2013 at Franklin and Fell Streets, six blocks from the proposed housing.\u003c/p>\n\u003cfigure id=\"attachment_13928729\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SFJAZZ founder Randall Kline accepts the Lifetime Achievement Award at the organization’s annual gala in San Francisco on May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Kline, both Mayor London Breed and San Francisco’s planning department have so far been enthusiastic about the project, known simply as 1687 Market. The project would be fast-tracked by \u003ca href=\"https://www.kqed.org/news/11923146/these-california-affordable-housing-bills-could-create-more-than-a-million-apartments-if-labor-unions-can-agree-on-terms\">Assembly Bill 2011\u003c/a>, approved in 2022, which encourages affordable housing on commercially zoned land.\u003c/p>\n\u003cp>The hope is to begin construction in late 2025, with completion sometime in 2027. Overseeing the project is San Francisco architect \u003ca href=\"https://www.cavagnero.com/\">Mark Cavagnero\u003c/a>, whose projects include the SFJAZZ Center as well as the nearby San Francisco Conservatory of Music. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13910898","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It is “far too soon” to provide an estimated monthly rent for space at 1687 Market, Kline said. Applications for artist housing in San Francisco are typically subject to a lottery, though \u003ca href=\"https://www.kqed.org/arts/13828581/san-francisco-looks-to-create-low-cost-housing-preference-for-artists\">that process has at times been onerous\u003c/a>. \u003c/p>\n\u003cp>As an inspiration for 1867 Market, Kline cited New York City’s Manhattan Plaza, an artist building that has been home to many jazz musicians, as well as singer Alicia Keys, writer Tennessee Williams, actor Timothée Chalamet and others.\u003c/p>\n\u003cp>“There’s a building older than that, also, called Westbeth,” Kline said, referring to the downtown New York building that has housed jazz guitarist John Scofield, visual artist Nam June Paik, choreographer Merce Cunningham and actor Robert de Niro.\u003c/p>\n\u003cfigure id=\"attachment_13957654\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg\" alt=\"\" width=\"1920\" height=\"1304\" class=\"size-full wp-image-13957654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1536x1043.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robin McRoskey Azevedo, pictured in 2010 at the McRoskey Mattress Co. on Market Street in San Francisco. The building site is planned for new artist housing. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The existing \u003ca href=\"https://www.mcroskey.com/heritage\">McRoskey Mattress Co.\u003c/a> building would be demolished to make way for the new housing. Building owner Robin McRoskey Azevedo sold the mattress company, which was founded in 1899, to Fresno-based Pleasant Mattress in 2018. In its factory loft, the building has hosted events with the San Francisco Silent Film Festival, for which Azevedo is a board member. \u003c/p>\n\u003cp>The project is coming about thanks to a combination of AB 2011, support from the city and a central location, Kline said, as well as \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">his decision last year to step down from SFJAZZ\u003c/a>. The anonymous donor, meanwhile, was crucial. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, what a gift to the city,” Kline said. “This is really a person who doesn’t care about notoriety, but does care about the artistic and cultural life of the city.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco","authors":["185"],"categories":["arts_1","arts_235"],"tags":["arts_10342","arts_10278","arts_4544","arts_163","arts_2216","arts_2048"],"featImg":"arts_13957653","label":"arts"},"arts_13957530":{"type":"posts","id":"arts_13957530","meta":{"index":"posts_1716263798","site":"arts","id":"13957530","score":null,"sort":[1715220738000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1715220738,"format":"aside","title":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","headTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95 | KQED","content":"\u003cfigure id=\"attachment_13957526\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg\" alt=\"\" width=\"1436\" height=\"1920\" class=\"size-full wp-image-13957526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1020x1364.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1149x1536.jpg 1149w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, seen here surrounded by her designs. The artist and pioneer of supergraphics died at her home Tuesday night at age 95. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barbara Stauffacher Solomon, a giant in the worlds of landscape architecture and graphic design who spearheaded the colorful supergraphics movement of the 1960s and ’70s, died last night at her home in San Francisco. She was 95.\u003c/p>\n\u003cp>According to her daughter, the Los Angeles-based artist Nellie King Solomon, Stauffacher Solomon had been in hospice care for some time, and had reached the point where she was no longer able to eat, drink or talk. “Her body expired,” Solomon said. “She had a huge life! There’s no tragedy.”\u003c/p>\n\u003cp>In spite of her declining health, Stauffacher Solomon was a prolific artist up until the very end. Recent projects include a series of drawings displayed on the walls above a \u003ca href=\"https://staircase.place/\">red-painted staircase\u003c/a> in the Inner Richmond, a \u003ca href=\"https://www.vonbartha.com/events/welcome-sign-st-moritz/\">95-foot-long “WELCOME” sign\u003c/a> installed on the retaining wall outside the train station in Moritz, Switzerland, and a large-scale, stripe-themed installation that currently occupies the entire \u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">second-floor lobby of SFMOMA\u003c/a>. \u003c/p>\n\u003cp>“She died with Liquid Paper on her hands,” Solomon said. “She wrestled it with the nurses.”\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Grunder, a San Francisco artist who worked as Stauffacher Solomon’s studio assistant and informal caregiver for much of the past few years, said that he was inspired by her ability to overcome adversity — “reinventing herself five times over in 70-plus years,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After her first husband, the filmmaker Frank Stauffacher, died, Stauffacher Solomon moved to Basel, Switzerland, to study graphic design and learn skills that she could use to support herself and her young child. She returned to San Francisco in the early ’60s to open her own graphic design firm. \u003c/p>\n\u003cfigure id=\"attachment_13839100\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg\" alt=\"Barbara Stauffacher Solomon in 1955.\" width=\"640\" height=\"865\" class=\"size-full wp-image-13839100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-375x507.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-520x703.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon in 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, Stauffacher Solomon took on the design project that she will likely be remembered most for, at an experimental housing development known as \u003ca href=\"https://www.tsra.org/\">Sea Ranch\u003c/a> on the Sonoma coast. She designed the ram’s horn–inspired logo, as well as the bold, large-scale graphic elements that are painted inside several buildings at Sea Ranch, including, most famously, its \u003ca href=\"https://searanch.ced.berkeley.edu/s/sea-ranch/page/moonraker\">athletic center\u003c/a>. The new style of graphics and environmental architecture that she created came to be known as supergraphics — a design movement that blended “the rigor of Swiss modernism with the color and style of [Stauffacher Solomon’s] West Coast sensibility,” as KQED’s Sarah Hotchkiss described it in a \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">2018 profile of the artist\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957527\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13957527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The rams horns at the Sea Ranch Lodge as designed by artist Barbara Stauffacher Solomon. \u003ccite>(Myung J. Chun / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Solomon asserted that the “hard-edged” supergraphics are only one part of her mother’s artistic legacy. “There was this whole schmaltzy side to her,” she said. She loved 1930s French music; she loved gardens and meadows; she spent years working primarily as a landscape architect. Some of Solomon’s favorite memories with her mother were of “breaking and entering” into historical gardens — experiences that she documented in her 1989 book, \u003cem>Green Architecture & the Agrarian Garden\u003c/em>.\u003c/p>\n\u003cp>In more recent years, Stauffacher Solomon revisited the supergraphics style that she helped popularize, perhaps most notably for her recent SFMOMA atrium project. Joseph Becker, SFMOMA’s Associate Curator of Architecture and Design, said he had been collaborating with Stauffacher Solomon for years, describing her as “an incredible sparring partner and visionary who suffered no fools.” \u003c/p>\n\u003cfigure id=\"attachment_13957524\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13957524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie and granddaughter Fia. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She overcame tremendous adversity in the early part of her career, developing her own graphic design practice in a world not hospitable to women setting out on their own and making a name for themselves,” Becker said. “One of the reasons was because she had an exacting vision and attitude. To work with someone like that, even though she was 95, her clarity was undeniable. She knew exactly what she wanted, saw all sides of the project.”\u003c/p>\n\u003cp>The museum currently has new Stauffacher Solomon work that it’s partnering with the City of San Francisco to present: a massive, 300-foot-long \u003ca href=\"https://www.sfartscommission.org/content/minna-natoma-art-corridor-project-street-paving\">street paving project on Minna Street\u003c/a> featuring a graphic pattern made of red boots as an homage to Minna Rae Simpson, the street’s supposed namesake.\u003c/p>\n\u003cp>“What an absolute San Francisco treasure,” Becker said of Stauffacher Solomon. “Hands down, one of the best.”\u003c/p>\n\u003cfigure id=\"attachment_13957523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg\" alt=\"\" width=\"1920\" height=\"1443\" class=\"size-full wp-image-13957523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, going through some of her many files. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder, who met Stauffacher Solomon in 2019, said he “clicked [with her] in a way I never clicked with any friend ever.” Working closely with her as her “accomplice” these past few years, he says what he learned most from her is that you “can have an absolutely wonderful life without trying to please everybody.”\u003c/p>\n\u003cp>“Truthfully, she was incredibly prickly to a lot of people, and incredibly sweet and devoted to others,” Grunder said.\u003c/p>\n\u003cp>In recent years, he said, what Stauffacher Solomon seemed proudest of were her books — many of them an eccentric mix of drawings, abstractions and some rhyming text. The one she’d just completed, \u003cem>See the Invisible\u003c/em>, due to be released by \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> later this year, focuses on a theme Grunder says Stauffacher Solomon was obsessed with: making things that are visible invisible — with how design can be almost entirely invisible.\u003c/p>\n\u003cfigure id=\"attachment_13839103\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg\" alt=\"Installation view of Barbara Stauffacher Solomon's 'Land(e)scape 2018' at BAMPFA.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13839103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Barbara Stauffacher Solomon’s ‘Land(e)scape 2018’ at BAMPFA. \u003ccite>(Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder recalls a time when Stauffacher Solomon referred, offhandedly, to her signs on Market Street in San Francisco. “Maybe you’re confused,” Grunder remembers saying to her. When did she ever get commissioned to do an installation on Market Street? So, she sent him down to Market and 3rd and had him look: “There, there,” she told him.\u003c/p>\n\u003cp>As it turns out, Stauffacher Solomon had designed the \u003cem>\u003ca href=\"https://www.google.com/maps/@37.7879043,-122.4033387,3a,75y,204.09h,101.03t/data=!3m7!1e1!3m5!1shUg8nuEWC6jtk-GaO4ZOgA!2e0!6shttps:%2F%2Fstreetviewpixels-pa.googleapis.com%2Fv1%2Fthumbnail%3Fpanoid%3DhUg8nuEWC6jtk-GaO4ZOgA%26cb_client%3Dmaps_sv.share%26w%3D900%26h%3D600%26yaw%3D204.08666956826983%26pitch%3D-11.025780054833689%26thumbfov%3D90!7i16384!8i8192?coh=205410&entry=ttu\">actual street signs\u003c/a>\u003c/em>. “Ta-da,” she said, when he finally made the connection.\u003c/p>\n\u003cp>As SFMOMA’s Becker put it, “We’re surrounded by works by Bobbie even if we’re not aware of it,” using the name used by Stauffacher Solomon’s friends.\u003c/p>\n\u003cfigure id=\"attachment_13957525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13957525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie, granddaughter Fia, and a display of her work. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having spent much of the past decade fielding questions about legacy, Stauffacher Solomon was delighted to surprise one such inquisitor by saying she’d like to be remembered “for being a good mommy.” According to Solomon, her mother really did view herself as a mother and a grandmother first, even before her career, as someone who made the conscious choice to “build the next generation and have the best work of your life.” \u003c/p>\n\u003cp>“Because the art world and the design world are primarily a man’s world, they want you to choose between the two. I think that’s antiquated and ridiculous,” Solomon said. In that way, she believes that she and her own 16-year-old daughter, Fia — a budding singer-songwriter in her own right — are tasked with carrying on Stauffacher Solomon’s true legacy.\u003c/p>\n\u003cp>On Sunday, May 12, at 3 p.m., the family will hold a public memorial for Stauffacher Solomon at \u003ca href=\"https://presidio.gov/explore/attractions/crissy-field-east-beach\">Crissy Field East Beach\u003c/a>, in front of the changing rooms. “That was where she used to walk her dog Jake,” Solomon said. “The beach is where she hung out.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She hopes friends, colleagues and other well-wishers who knew her mother will come ready with stories to share to give her a proper send-off.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1357,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":24},"modified":1715977757,"excerpt":"The San Francisco-born designer and landscape architect was known for her colorful, oversized work.","headData":{"twImgId":"","twTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","socialTitle":"Artist Barbara Stauffacher Solomon Dies at 95 %%page%% %%sep%% KQED","ogTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","ogImgId":"","twDescription":"","description":"The San Francisco-born designer and landscape architect was known for her colorful, oversized work.","title":"Artist Barbara Stauffacher Solomon Dies at 95 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","datePublished":"2024-05-08T19:12:18-07:00","dateModified":"2024-05-17T13:29:17-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"barbara-stauffacher-solomon-supergraphics-obituary","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","nprStoryId":"kqed-13957530","path":"/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957526\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg\" alt=\"\" width=\"1436\" height=\"1920\" class=\"size-full wp-image-13957526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1020x1364.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1149x1536.jpg 1149w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, seen here surrounded by her designs. The artist and pioneer of supergraphics died at her home Tuesday night at age 95. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barbara Stauffacher Solomon, a giant in the worlds of landscape architecture and graphic design who spearheaded the colorful supergraphics movement of the 1960s and ’70s, died last night at her home in San Francisco. She was 95.\u003c/p>\n\u003cp>According to her daughter, the Los Angeles-based artist Nellie King Solomon, Stauffacher Solomon had been in hospice care for some time, and had reached the point where she was no longer able to eat, drink or talk. “Her body expired,” Solomon said. “She had a huge life! There’s no tragedy.”\u003c/p>\n\u003cp>In spite of her declining health, Stauffacher Solomon was a prolific artist up until the very end. Recent projects include a series of drawings displayed on the walls above a \u003ca href=\"https://staircase.place/\">red-painted staircase\u003c/a> in the Inner Richmond, a \u003ca href=\"https://www.vonbartha.com/events/welcome-sign-st-moritz/\">95-foot-long “WELCOME” sign\u003c/a> installed on the retaining wall outside the train station in Moritz, Switzerland, and a large-scale, stripe-themed installation that currently occupies the entire \u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">second-floor lobby of SFMOMA\u003c/a>. \u003c/p>\n\u003cp>“She died with Liquid Paper on her hands,” Solomon said. “She wrestled it with the nurses.”\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Grunder, a San Francisco artist who worked as Stauffacher Solomon’s studio assistant and informal caregiver for much of the past few years, said that he was inspired by her ability to overcome adversity — “reinventing herself five times over in 70-plus years,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After her first husband, the filmmaker Frank Stauffacher, died, Stauffacher Solomon moved to Basel, Switzerland, to study graphic design and learn skills that she could use to support herself and her young child. She returned to San Francisco in the early ’60s to open her own graphic design firm. \u003c/p>\n\u003cfigure id=\"attachment_13839100\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg\" alt=\"Barbara Stauffacher Solomon in 1955.\" width=\"640\" height=\"865\" class=\"size-full wp-image-13839100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-375x507.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-520x703.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon in 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, Stauffacher Solomon took on the design project that she will likely be remembered most for, at an experimental housing development known as \u003ca href=\"https://www.tsra.org/\">Sea Ranch\u003c/a> on the Sonoma coast. She designed the ram’s horn–inspired logo, as well as the bold, large-scale graphic elements that are painted inside several buildings at Sea Ranch, including, most famously, its \u003ca href=\"https://searanch.ced.berkeley.edu/s/sea-ranch/page/moonraker\">athletic center\u003c/a>. The new style of graphics and environmental architecture that she created came to be known as supergraphics — a design movement that blended “the rigor of Swiss modernism with the color and style of [Stauffacher Solomon’s] West Coast sensibility,” as KQED’s Sarah Hotchkiss described it in a \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">2018 profile of the artist\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957527\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13957527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The rams horns at the Sea Ranch Lodge as designed by artist Barbara Stauffacher Solomon. \u003ccite>(Myung J. Chun / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Solomon asserted that the “hard-edged” supergraphics are only one part of her mother’s artistic legacy. “There was this whole schmaltzy side to her,” she said. She loved 1930s French music; she loved gardens and meadows; she spent years working primarily as a landscape architect. Some of Solomon’s favorite memories with her mother were of “breaking and entering” into historical gardens — experiences that she documented in her 1989 book, \u003cem>Green Architecture & the Agrarian Garden\u003c/em>.\u003c/p>\n\u003cp>In more recent years, Stauffacher Solomon revisited the supergraphics style that she helped popularize, perhaps most notably for her recent SFMOMA atrium project. Joseph Becker, SFMOMA’s Associate Curator of Architecture and Design, said he had been collaborating with Stauffacher Solomon for years, describing her as “an incredible sparring partner and visionary who suffered no fools.” \u003c/p>\n\u003cfigure id=\"attachment_13957524\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13957524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie and granddaughter Fia. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She overcame tremendous adversity in the early part of her career, developing her own graphic design practice in a world not hospitable to women setting out on their own and making a name for themselves,” Becker said. “One of the reasons was because she had an exacting vision and attitude. To work with someone like that, even though she was 95, her clarity was undeniable. She knew exactly what she wanted, saw all sides of the project.”\u003c/p>\n\u003cp>The museum currently has new Stauffacher Solomon work that it’s partnering with the City of San Francisco to present: a massive, 300-foot-long \u003ca href=\"https://www.sfartscommission.org/content/minna-natoma-art-corridor-project-street-paving\">street paving project on Minna Street\u003c/a> featuring a graphic pattern made of red boots as an homage to Minna Rae Simpson, the street’s supposed namesake.\u003c/p>\n\u003cp>“What an absolute San Francisco treasure,” Becker said of Stauffacher Solomon. “Hands down, one of the best.”\u003c/p>\n\u003cfigure id=\"attachment_13957523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg\" alt=\"\" width=\"1920\" height=\"1443\" class=\"size-full wp-image-13957523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, going through some of her many files. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder, who met Stauffacher Solomon in 2019, said he “clicked [with her] in a way I never clicked with any friend ever.” Working closely with her as her “accomplice” these past few years, he says what he learned most from her is that you “can have an absolutely wonderful life without trying to please everybody.”\u003c/p>\n\u003cp>“Truthfully, she was incredibly prickly to a lot of people, and incredibly sweet and devoted to others,” Grunder said.\u003c/p>\n\u003cp>In recent years, he said, what Stauffacher Solomon seemed proudest of were her books — many of them an eccentric mix of drawings, abstractions and some rhyming text. The one she’d just completed, \u003cem>See the Invisible\u003c/em>, due to be released by \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> later this year, focuses on a theme Grunder says Stauffacher Solomon was obsessed with: making things that are visible invisible — with how design can be almost entirely invisible.\u003c/p>\n\u003cfigure id=\"attachment_13839103\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg\" alt=\"Installation view of Barbara Stauffacher Solomon's 'Land(e)scape 2018' at BAMPFA.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13839103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Barbara Stauffacher Solomon’s ‘Land(e)scape 2018’ at BAMPFA. \u003ccite>(Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder recalls a time when Stauffacher Solomon referred, offhandedly, to her signs on Market Street in San Francisco. “Maybe you’re confused,” Grunder remembers saying to her. When did she ever get commissioned to do an installation on Market Street? So, she sent him down to Market and 3rd and had him look: “There, there,” she told him.\u003c/p>\n\u003cp>As it turns out, Stauffacher Solomon had designed the \u003cem>\u003ca href=\"https://www.google.com/maps/@37.7879043,-122.4033387,3a,75y,204.09h,101.03t/data=!3m7!1e1!3m5!1shUg8nuEWC6jtk-GaO4ZOgA!2e0!6shttps:%2F%2Fstreetviewpixels-pa.googleapis.com%2Fv1%2Fthumbnail%3Fpanoid%3DhUg8nuEWC6jtk-GaO4ZOgA%26cb_client%3Dmaps_sv.share%26w%3D900%26h%3D600%26yaw%3D204.08666956826983%26pitch%3D-11.025780054833689%26thumbfov%3D90!7i16384!8i8192?coh=205410&entry=ttu\">actual street signs\u003c/a>\u003c/em>. “Ta-da,” she said, when he finally made the connection.\u003c/p>\n\u003cp>As SFMOMA’s Becker put it, “We’re surrounded by works by Bobbie even if we’re not aware of it,” using the name used by Stauffacher Solomon’s friends.\u003c/p>\n\u003cfigure id=\"attachment_13957525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13957525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie, granddaughter Fia, and a display of her work. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having spent much of the past decade fielding questions about legacy, Stauffacher Solomon was delighted to surprise one such inquisitor by saying she’d like to be remembered “for being a good mommy.” According to Solomon, her mother really did view herself as a mother and a grandmother first, even before her career, as someone who made the conscious choice to “build the next generation and have the best work of your life.” \u003c/p>\n\u003cp>“Because the art world and the design world are primarily a man’s world, they want you to choose between the two. I think that’s antiquated and ridiculous,” Solomon said. In that way, she believes that she and her own 16-year-old daughter, Fia — a budding singer-songwriter in her own right — are tasked with carrying on Stauffacher Solomon’s true legacy.\u003c/p>\n\u003cp>On Sunday, May 12, at 3 p.m., the family will hold a public memorial for Stauffacher Solomon at \u003ca href=\"https://presidio.gov/explore/attractions/crissy-field-east-beach\">Crissy Field East Beach\u003c/a>, in front of the changing rooms. “That was where she used to walk her dog Jake,” Solomon said. “The beach is where she hung out.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She hopes friends, colleagues and other well-wishers who knew her mother will come ready with stories to share to give her a proper send-off.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary","authors":["11743"],"categories":["arts_1","arts_235","arts_1564","arts_70"],"tags":["arts_10342","arts_10278","arts_1091","arts_21789","arts_1146","arts_1381"],"featImg":"arts_13957522","label":"arts"},"arts_13957096":{"type":"posts","id":"arts_13957096","meta":{"index":"posts_1716263798","site":"arts","id":"13957096","score":null,"sort":[1714679172000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1714679172,"format":"standard","title":"‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In","headTitle":"‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In | KQED","content":"\u003cp>Sweat in slow-mo, relentless EDM and staggering chemistry are just a few highlights of \u003cem>Challengers\u003c/em>, the Zendaya-starring film about a trio of tennis players that’s lit up group chats nationwide. All over the internet, fans are posting photos of their favorite love triangles — Roy, Keeley and Jamie from \u003cem>Ted Lasso\u003c/em>; Nora, Hae Sung and Arthur from \u003cem>Past Lives\u003c/em> — with the caption, “Three tickets to \u003cem>Challengers\u003c/em> please.” It’s the film that’s launched a thousand Twitter threads about throuples. \u003c/p>\n\u003cp>I sat down with Izzy and Mary, polyamorous partners in the Bay Area, to get their thoughts on \u003cem>Challengers\u003c/em>. Below, they chat about their favorite scenes, phallic churros, yonic tennis rackets and the dynamics that took them back to being young and intimate with more than one partner.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003cstrong>Note:\u003c/strong> Spoilers and swearing ahead.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Cruz Mayeda: What were your first impressions of \u003cem>Challengers\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It’s not a rule book for how to date, but it’s a very good fantasy. I love that it was a movie that purported to be about a relationship, but really was about winning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> I was so entertained throughout. Even when it was slower-paced, it was so rich with these tense scenes. And even though it was super sexual, I didn’t feel like it was over the top. It was really contained and just purposeful. It wasn’t like everything would be solved if Patrick and Art fucked or something. It was way more layered.\u003c/p>\n\u003cfigure id=\"attachment_13957101\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000.jpg\" alt=\"Two young men in profile talking in front of window\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Josh O’Connor as Patrick in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was surprised by how layered the characters were. What felt nuanced about their relationship dynamics to y’all?\u003c/strong>\u003c/p>\n\u003cp>[aside postID='arts_13956512']\u003cstrong>Izzy:\u003c/strong> The way in which flirting and jealousy is explored — Patrick doesn’t demonize Art for being jealous, even when he’s low-key sabotaging Patrick’s relationship. He’s turned on by it. He’s like, ‘You little snake, I see what you’re doing.’ They both fulfill each character’s competitive spirit and drive.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> That’s what makes the movie hot. It’s kinky. There’s a certain amount of ambiguity around consent because, of course, cheating and infidelity is bad. But then there’s this question: Is anything fair game if it’s in the service of tennis? \u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Even at the end, where Art and Patrick have this secret language that Tashi is not in on, she’s like, ‘Fuck yeah, come on!’ And she gets what she wants out of it, which is to watch some really good fucking tennis.\u003c/p>\n\u003cp>\u003cstrong>Internet discourse about \u003cem>Challengers\u003c/em> has really honed in on throuples. Would you say Tashi, Art and Patrick are a throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It sells itself as being a film about a throuple. But this is not how throuples work in ethical ways.\u003c/p>\n\u003cfigure id=\"attachment_13957102\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000.jpg\" alt=\"Man and woman in close-up looking at each other\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Niko Tavernise/Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So … are they an unethical throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Oh, yes! I mean, there’s no communication. So from that perspective, I would want to draw that line. But I think it’s a fantasy, and it’s a really effective fantasy.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> I feel like the movie is not about a throuple. It’s about three people’s different intersections of relating with one another. Even in that scene where [Tashi] makes all of them kiss, she steps away.\u003c/p>\n\u003cp>\u003cstrong>Speaking of that first intimate scene between all three characters, what stood out to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> It is a very realistic threesome that happens between 18-year-olds or young adults, who don’t know those forms of communication. You’ve got two horny guys who are totally simping for her and also for each other. And they have some beer and they’re in the afterglow of flirting. \u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> When I’ve experienced a situation with more than one person, there are all of these side conversations to check around consent, and what is and isn’t okay. I think that kind of awkward conversation, and allowing for the stumbling and the awkwardness, and not being sure what is going to happen or if everyone is attracted to everyone else — I thought that was really sweet. I felt like I was promised ‘the boys being gay,’ and it was actually just so tender. \u003c/p>\n\u003cfigure id=\"attachment_13957103\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000.jpg\" alt=\"Back of man as he faces woman in red-lit dark scene\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh O’Connor as Patrick and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> There’s that scene where Patrick pulls Art’s stool closer to him with his foot. There’s just little things that feel quite tender.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Yeah, where it’s not coded as ‘gay intimacy,’ but just coded as intimacy.\u003c/p>\n\u003cp>\u003cstrong>You also mentioned before that \u003cem>Challengers\u003c/em> is a fantasy. What feels different about the reality of three people being interested in each other? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> So last summer, there was a situation where the two of us and a friend of ours were talking late at night, and there was this desire. And of course, we’re partnered — and not just doubles partners. There’s this question of, ‘Will anything happen?’ And then it was, like, oh … we actually all just want to go to sleep, which is maybe the being-in-your-30s version.\u003c/p>\n\u003cp>A lot of time, there’s a possibility of a ‘no.’ But that doesn’t make for good cinema.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> This movie just reminds me of also being young and inexperienced. I’ve experienced that kind of threesome dynamic, where all of a sudden you find yourself in it, and you’re like, ‘I’ve never done this before, I’m young, I’m on the ride.’ And then in retrospect, you realize how much care is involved in sexual intimacy, especially when there’s multiple parties involved. \u003c/p>\n\u003cp>\u003cstrong>So, all in all?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Great movie. Ten out of ten.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1058,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":28},"modified":1714688085,"excerpt":"Bay Area experts discuss the drama of unethical non-monogamy and the surprising tenderness of ‘Challengers.’","headData":{"twImgId":"","twTitle":"‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In","socialTitle":"A Polyamorous Couple Reviews ‘Challengers’: ‘Very Good Fantasy’ %%page%% %%sep%% KQED","ogTitle":"‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In","ogImgId":"","twDescription":"","description":"Bay Area experts discuss the drama of unethical non-monogamy and the surprising tenderness of ‘Challengers.’","title":"A Polyamorous Couple Reviews ‘Challengers’: ‘Very Good Fantasy’ | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In","datePublished":"2024-05-02T12:46:12-07:00","dateModified":"2024-05-02T15:14:45-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"challengers-throuple-zendaya-polyamorous-couple","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","nprStoryId":"kqed-13957096","path":"/arts/13957096/challengers-throuple-zendaya-polyamorous-couple","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sweat in slow-mo, relentless EDM and staggering chemistry are just a few highlights of \u003cem>Challengers\u003c/em>, the Zendaya-starring film about a trio of tennis players that’s lit up group chats nationwide. All over the internet, fans are posting photos of their favorite love triangles — Roy, Keeley and Jamie from \u003cem>Ted Lasso\u003c/em>; Nora, Hae Sung and Arthur from \u003cem>Past Lives\u003c/em> — with the caption, “Three tickets to \u003cem>Challengers\u003c/em> please.” It’s the film that’s launched a thousand Twitter threads about throuples. \u003c/p>\n\u003cp>I sat down with Izzy and Mary, polyamorous partners in the Bay Area, to get their thoughts on \u003cem>Challengers\u003c/em>. Below, they chat about their favorite scenes, phallic churros, yonic tennis rackets and the dynamics that took them back to being young and intimate with more than one partner.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003cstrong>Note:\u003c/strong> Spoilers and swearing ahead.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Cruz Mayeda: What were your first impressions of \u003cem>Challengers\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It’s not a rule book for how to date, but it’s a very good fantasy. I love that it was a movie that purported to be about a relationship, but really was about winning.\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>Izzy:\u003c/strong> I was so entertained throughout. Even when it was slower-paced, it was so rich with these tense scenes. And even though it was super sexual, I didn’t feel like it was over the top. It was really contained and just purposeful. It wasn’t like everything would be solved if Patrick and Art fucked or something. It was way more layered.\u003c/p>\n\u003cfigure id=\"attachment_13957101\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000.jpg\" alt=\"Two young men in profile talking in front of window\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Josh O’Connor as Patrick in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was surprised by how layered the characters were. What felt nuanced about their relationship dynamics to y’all?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956512","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Izzy:\u003c/strong> The way in which flirting and jealousy is explored — Patrick doesn’t demonize Art for being jealous, even when he’s low-key sabotaging Patrick’s relationship. He’s turned on by it. He’s like, ‘You little snake, I see what you’re doing.’ They both fulfill each character’s competitive spirit and drive.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> That’s what makes the movie hot. It’s kinky. There’s a certain amount of ambiguity around consent because, of course, cheating and infidelity is bad. But then there’s this question: Is anything fair game if it’s in the service of tennis? \u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Even at the end, where Art and Patrick have this secret language that Tashi is not in on, she’s like, ‘Fuck yeah, come on!’ And she gets what she wants out of it, which is to watch some really good fucking tennis.\u003c/p>\n\u003cp>\u003cstrong>Internet discourse about \u003cem>Challengers\u003c/em> has really honed in on throuples. Would you say Tashi, Art and Patrick are a throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It sells itself as being a film about a throuple. But this is not how throuples work in ethical ways.\u003c/p>\n\u003cfigure id=\"attachment_13957102\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000.jpg\" alt=\"Man and woman in close-up looking at each other\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Niko Tavernise/Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So … are they an unethical throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Oh, yes! I mean, there’s no communication. So from that perspective, I would want to draw that line. But I think it’s a fantasy, and it’s a really effective fantasy.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> I feel like the movie is not about a throuple. It’s about three people’s different intersections of relating with one another. Even in that scene where [Tashi] makes all of them kiss, she steps away.\u003c/p>\n\u003cp>\u003cstrong>Speaking of that first intimate scene between all three characters, what stood out to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> It is a very realistic threesome that happens between 18-year-olds or young adults, who don’t know those forms of communication. You’ve got two horny guys who are totally simping for her and also for each other. And they have some beer and they’re in the afterglow of flirting. \u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> When I’ve experienced a situation with more than one person, there are all of these side conversations to check around consent, and what is and isn’t okay. I think that kind of awkward conversation, and allowing for the stumbling and the awkwardness, and not being sure what is going to happen or if everyone is attracted to everyone else — I thought that was really sweet. I felt like I was promised ‘the boys being gay,’ and it was actually just so tender. \u003c/p>\n\u003cfigure id=\"attachment_13957103\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000.jpg\" alt=\"Back of man as he faces woman in red-lit dark scene\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh O’Connor as Patrick and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> There’s that scene where Patrick pulls Art’s stool closer to him with his foot. There’s just little things that feel quite tender.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Yeah, where it’s not coded as ‘gay intimacy,’ but just coded as intimacy.\u003c/p>\n\u003cp>\u003cstrong>You also mentioned before that \u003cem>Challengers\u003c/em> is a fantasy. What feels different about the reality of three people being interested in each other? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> So last summer, there was a situation where the two of us and a friend of ours were talking late at night, and there was this desire. And of course, we’re partnered — and not just doubles partners. There’s this question of, ‘Will anything happen?’ And then it was, like, oh … we actually all just want to go to sleep, which is maybe the being-in-your-30s version.\u003c/p>\n\u003cp>A lot of time, there’s a possibility of a ‘no.’ But that doesn’t make for good cinema.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> This movie just reminds me of also being young and inexperienced. I’ve experienced that kind of threesome dynamic, where all of a sudden you find yourself in it, and you’re like, ‘I’ve never done this before, I’m young, I’m on the ride.’ And then in retrospect, you realize how much care is involved in sexual intimacy, especially when there’s multiple parties involved. \u003c/p>\n\u003cp>\u003cstrong>So, all in all?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Great movie. Ten out of ten.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957096/challengers-throuple-zendaya-polyamorous-couple","authors":["11872"],"categories":["arts_1","arts_74"],"tags":["arts_10342","arts_10278","arts_977","arts_21968"],"featImg":"arts_13957100","label":"arts"},"arts_13956541":{"type":"posts","id":"arts_13956541","meta":{"index":"posts_1716263798","site":"arts","id":"13956541","score":null,"sort":[1714514805000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1714514805,"format":"standard","title":"Shannon Shaw’s New Album Channels a Magical Love and a Life-Changing Loss","headTitle":"Shannon Shaw’s New Album Channels a Magical Love and a Life-Changing Loss | KQED","content":"\u003cp>[dropcap]O[/dropcap]f all the topics covered in our hour-long Zoom call, one of the few that doesn’t make Shannon Shaw cry a little is pro wrestling great Mick “Mankind” Foley.\u003c/p>\n\u003cp>“I was in Detroit at the airport really early in the morning. I was like ‘Oh my God, is that Mankind? Holy shit!’” she says. “I was like, ‘You know what? He is the kind of celeb that I’m going to approach, and hopefully he’s as nice as he seems.’ He was so nice! He asked me if I wanted a photo.”\u003c/p>\n\u003cp>A few years later, she reposted the photo to her Instagram. A subsequent chain of online events led to her and her band, the Clams, going out to lunch with him in Nashville, where they were recording a new album.\u003c/p>\n\u003cp>And that’s how a WWE Hall of Famer ended up contributing hand claps to her new album \u003cem>\u003ca href=\"https://easyeyesound.com/collections/shannon-the-clams\">The Moon Is In The Wrong Place\u003c/a>\u003c/em>.\u003c/p>\n\u003ch2>A devastating loss\u003c/h2>\n\u003cp>In some ways it’s a fitting coda to the past few years of Shaw’s life, which have been filled with one-in-a-million occurrences that brought her a staggering range of experiences, including a friendship with a pro wrestling legend, a dog she loves and the darkest days of her life. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’ve been a local rock ‘n’ roll fan in the last 15 years, you have almost definitely heard Shaw’s voice. It may have been in Oakland retro-tinged punk legends Hunx and his Punx, or in her own band, Shannon and the Clams. The distinctive rasp in her singing voice and her striking personal style made her stand out in a crowded field of local indie acts in the 2010s, leading to a solo record on Dan Auerbach’s Easy Eye Sound and large-print appearances with Oakland’s \u003ca href=\"https://www.kqed.org/arts/13951325/mosswood-meltdown-lineup-b-52s-big-freedia\">Mosswood Meltdown festival\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu.jpeg\" alt=\"Album cover with floating heads of band members in a starry night design\" width=\"800\" height=\"800\" class=\"size-full wp-image-13956547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu-768x768.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The new album from Shannon and the Clams, ‘The Moon Is In The Wrong Place,’ comes out May 10 on Easy Eye Sound. \u003ccite>(Easy Eye Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you’re plugged into that scene, you likely also know the personal devastation that brought us this new record. In 2022, her fiancé Joe Haener — also a Bay Area rock icon, an in-demand drummer who played with bands like The Dodos, Rock N Roll Adventure Kids and his own band Gris Gris — died in a car crash outside his family farm in rural Oregon. The accident happened in front of a bean field that Shaw says “he was probably planning to harvest like within the next week or something.” \u003c/p>\n\u003cp>Haener’s passing stunned the local music community, and fans and friends of the couple paid tribute for weeks after: tribute concerts were arranged in his honor, and artists dedicated albums to him. Acclaimed Oakland taqueria Tacos Oscar put his recipe for beans on the menu. \u003c/p>\n\u003cp>“I really do feel like we have such incredible fans that they’re here for it, you know?” Shaw says of the outpouring of love she received and the anticipation for the new record. “They want to experience the music [on this record] knowing exactly what it’s about. And I just appreciate that so much.”\u003c/p>\n\u003ch2>A love story\n\u003c/h2>\u003cp>Shaw is generally cynical about whether the universe has grand plans for us all — these things tend to come up when you lose someone — but she believes in one notable exception: Joe Haener, and that his existence overlapped with hers at all. “I’m always [doubting myself] like, ‘Yeah you’re probably just looking really hard and making something out of nothing.’ But no,” she says. “There’s too many things.” \u003c/p>\n\u003cp>Their story starts serendipitously at a strip mall in Tualatin, Oregon. In town for a friend’s wedding, she was looking for a dress at a Lane Bryant a few doors down from a Starbucks. It started pouring, so she ducked into the coffee shop to wait out the rain. Haener’s family farm didn’t yet have internet access, so there he was using the wifi to download some shows to take back with him. “Probably the Garry Shandling show. He loved that shit.”\u003c/p>\n\u003cfigure id=\"attachment_13956731\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED.jpg\" alt=\"Woman kisses small dog while holding bass guitar\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw and Spanky-Joe in Los Angeles. \u003ccite>(Jules Hotz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’d known Haener previously through the indie music world — and she had a huge, immediate crush on him. “I saw pictures of him and I’m like, ‘Oh my fucking lord. This is like the hunkiest man ever,’” she says, chuckling slightly. “I’m not normally like that, like a —” she makes an “awooga” sound, “but absolutely, Joe Haener, I totally was. Total wolf-[with]-steam-out-of-the-ears.”\u003c/p>\n\u003cp>After he shyly said hello in that Starbucks and asked if she remembered him, she invited him to be her date to the wedding. He had to be at the farm early the next morning, so he declined. They kept in touch, and in 2017 she met up with him after his birthday party – at 2 a.m., the only time they had to meet up while in the same city. Another suspiciously lucky turn of events unfolded: inclement weather canceled his early-morning flight. \u003c/p>\n\u003cp>“That’s [how] we became madly in love, [because] a lightning storm trapped him at my house,” Shaw remembers. “And we just played games and got to know each other and were both trying to pretend to not already be in love.” He proposed in 2020, and she moved to Portland to join him near the farm.\u003c/p>\n\u003ch2>Between sorrow and exuberance\u003c/h2>\n\u003cp>Shaw is calling from Los Angeles, where she moved to be close to friends and her support network. Spanky-Joe the dog is nestled sweetly in her lap. “I feel like he saved my life,” she says of Spanky, her voice breaking just a little. “And I just feel like even though Joe never got to meet him, somehow Joe and him crossed paths on the astral plane. And Joe was like, ‘I’m sending you to go take care of Shannon.’”\u003c/p>\n\u003cp>It’s still hard for her to talk about Haener, and yet, as she’s said on \u003ca href=\"https://www.instagram.com/p/C2OGLvjPYt_/?hl=en&img_index=1\">Instagram\u003c/a> and says on this call, “All I want to do is talk about Joe.” She spent last year doing just that, transferring her grief and confusion over to \u003cem>The Moon Is In The Wrong Place\u003c/em>, which she started writing almost immediately. “I had so much music in my head from the day he died,” she says. “Songs were coming to me.”\u003c/p>\n\u003cfigure id=\"attachment_13956548\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png\" alt=\"Five-person group photo, all in black clothes against maroon background\" width=\"1024\" height=\"680\" class=\"size-full wp-image-13956548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-768x510.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The members of Shannon and the Clams are vocalist and bass player Shannon Shaw, guitarist Cody Blanchard, keyboard player Will Sprott and drummer Nate Mahan. The whole band had grown close to Haener before his death. \u003ccite>(Easy Eye Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result revels in the dichotomy of loss. \u003cem>The Moon Is In The Wrong Place\u003c/em> stings like a freshly skinned knee, honest in its depiction of grief to the point of being jarring. But it’s also brimming with a naked joy. It’s a celebration of Haener and the lives he touched during his time here. \u003c/p>\n\u003cp>Opener “The Vow” bludgeons you with that bittersweetness — it’s the song Shaw wrote as a surprise for their wedding. The rest of the Shaw-scribed songs continue in that tone, swinging wildly between sorrow and exuberance. “I’m someone who I think generally can run positive … I just can’t help but see all the extreme, vibrant, beautiful things right next to the really awful realities, you know?” she says.\u003c/p>\n\u003cp>That describes the time she spent in the bean fields, which became a haven for her and the Haener family in the weeks after the accident. “It was such a gnarly scene, you know? There was, like …” she hesitates a moment and her voice quiets. “Burnt flesh and clothing, and all of his personal stuff from his car … but then being surrounded by blossoms … that was like the first time I had been like ‘OK this is a true juxtaposition,’” she says. “This is like life and death, and they’re … operating in the same exact space.” \u003c/p>\n\u003cp>That heady swell of emotions changes day by day, and she’s learned to lean into the positive feelings. “This is the deepest sadness I’ve ever felt in my life,” Shaw says, “and I know that will be there forever, but the little bits of joy that I have gotten to experience also feel so fucking good.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dvo2yOFb7k0\u003c/p>\n\u003cp>As a culture, we expect art borne of tragedy to pin the creator in place, for them to define themselves by the death of their loved one. We expect them to continuously perform their grief so the rest of us can get a lurid preview of an anguish we can’t know until it happens to us. It’s the joy that Shaw exudes on the album that makes it so novel.\u003c/p>\n\u003cp>Stalling out in grief isn’t something Haener would want for her, anyway. Staying in one place just wasn’t in his nature. “He’s like the least lazy person on earth,” she says. (She still, occasionally, slips into the present tense when talking about him.) “And that was so inspiring to me.”\u003c/p>\n\u003cp>So Shaw, as she says on the record, “keep[s] on chooglin’,” meeting a future without Joe Haener in it: “I would love to be able to help anyone see that there’s more to life, and your person would not want you to stop.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Moon is in the Wrong Place’ is out May 10, 2024 on Easy Eye Sound. \u003ca href=\"https://easyeyesound.com/collections/shannon-the-clams\">Find more information about the album here\u003c/a>.\u003c/i> \u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1746,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":26},"modified":1715623402,"excerpt":"‘The Moon Is In The Wrong Place’ arrives two years after the death of Shaw’s fiancé, the musician Joe Haener.","headData":{"twImgId":"","twTitle":"Shannon Shaw’s New Album Channels a Magical Love and a Life-Changing Loss","socialTitle":"Shannon Shaw’s New Album Channels Great Love and Great Loss %%page%% %%sep%% KQED","ogTitle":"Shannon Shaw’s New Album Channels a Magical Love and a Life-Changing Loss","ogImgId":"","twDescription":"","description":"‘The Moon Is In The Wrong Place’ arrives two years after the death of Shaw’s fiancé, the musician Joe Haener.","title":"Shannon Shaw’s New Album Channels Great Love and Great Loss | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Shannon Shaw’s New Album Channels a Magical Love and a Life-Changing Loss","datePublished":"2024-04-30T15:06:45-07:00","dateModified":"2024-05-13T11:03:22-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"shannon-shaw-the-clams-the-moon-is-in-the-wrong-place","status":"publish","templateType":"standard","nprByline":"Jody Amable","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"showOnAuthorArchivePages":"No","articleAge":"0","nprStoryId":"kqed-13956541","path":"/arts/13956541/shannon-shaw-the-clams-the-moon-is-in-the-wrong-place","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>f all the topics covered in our hour-long Zoom call, one of the few that doesn’t make Shannon Shaw cry a little is pro wrestling great Mick “Mankind” Foley.\u003c/p>\n\u003cp>“I was in Detroit at the airport really early in the morning. I was like ‘Oh my God, is that Mankind? Holy shit!’” she says. “I was like, ‘You know what? He is the kind of celeb that I’m going to approach, and hopefully he’s as nice as he seems.’ He was so nice! He asked me if I wanted a photo.”\u003c/p>\n\u003cp>A few years later, she reposted the photo to her Instagram. A subsequent chain of online events led to her and her band, the Clams, going out to lunch with him in Nashville, where they were recording a new album.\u003c/p>\n\u003cp>And that’s how a WWE Hall of Famer ended up contributing hand claps to her new album \u003cem>\u003ca href=\"https://easyeyesound.com/collections/shannon-the-clams\">The Moon Is In The Wrong Place\u003c/a>\u003c/em>.\u003c/p>\n\u003ch2>A devastating loss\u003c/h2>\n\u003cp>In some ways it’s a fitting coda to the past few years of Shaw’s life, which have been filled with one-in-a-million occurrences that brought her a staggering range of experiences, including a friendship with a pro wrestling legend, a dog she loves and the darkest days of her life. \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>If you’ve been a local rock ‘n’ roll fan in the last 15 years, you have almost definitely heard Shaw’s voice. It may have been in Oakland retro-tinged punk legends Hunx and his Punx, or in her own band, Shannon and the Clams. The distinctive rasp in her singing voice and her striking personal style made her stand out in a crowded field of local indie acts in the 2010s, leading to a solo record on Dan Auerbach’s Easy Eye Sound and large-print appearances with Oakland’s \u003ca href=\"https://www.kqed.org/arts/13951325/mosswood-meltdown-lineup-b-52s-big-freedia\">Mosswood Meltdown festival\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu.jpeg\" alt=\"Album cover with floating heads of band members in a starry night design\" width=\"800\" height=\"800\" class=\"size-full wp-image-13956547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu-768x768.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The new album from Shannon and the Clams, ‘The Moon Is In The Wrong Place,’ comes out May 10 on Easy Eye Sound. \u003ccite>(Easy Eye Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you’re plugged into that scene, you likely also know the personal devastation that brought us this new record. In 2022, her fiancé Joe Haener — also a Bay Area rock icon, an in-demand drummer who played with bands like The Dodos, Rock N Roll Adventure Kids and his own band Gris Gris — died in a car crash outside his family farm in rural Oregon. The accident happened in front of a bean field that Shaw says “he was probably planning to harvest like within the next week or something.” \u003c/p>\n\u003cp>Haener’s passing stunned the local music community, and fans and friends of the couple paid tribute for weeks after: tribute concerts were arranged in his honor, and artists dedicated albums to him. Acclaimed Oakland taqueria Tacos Oscar put his recipe for beans on the menu. \u003c/p>\n\u003cp>“I really do feel like we have such incredible fans that they’re here for it, you know?” Shaw says of the outpouring of love she received and the anticipation for the new record. “They want to experience the music [on this record] knowing exactly what it’s about. And I just appreciate that so much.”\u003c/p>\n\u003ch2>A love story\n\u003c/h2>\u003cp>Shaw is generally cynical about whether the universe has grand plans for us all — these things tend to come up when you lose someone — but she believes in one notable exception: Joe Haener, and that his existence overlapped with hers at all. “I’m always [doubting myself] like, ‘Yeah you’re probably just looking really hard and making something out of nothing.’ But no,” she says. “There’s too many things.” \u003c/p>\n\u003cp>Their story starts serendipitously at a strip mall in Tualatin, Oregon. In town for a friend’s wedding, she was looking for a dress at a Lane Bryant a few doors down from a Starbucks. It started pouring, so she ducked into the coffee shop to wait out the rain. Haener’s family farm didn’t yet have internet access, so there he was using the wifi to download some shows to take back with him. “Probably the Garry Shandling show. He loved that shit.”\u003c/p>\n\u003cfigure id=\"attachment_13956731\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED.jpg\" alt=\"Woman kisses small dog while holding bass guitar\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw and Spanky-Joe in Los Angeles. \u003ccite>(Jules Hotz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’d known Haener previously through the indie music world — and she had a huge, immediate crush on him. “I saw pictures of him and I’m like, ‘Oh my fucking lord. This is like the hunkiest man ever,’” she says, chuckling slightly. “I’m not normally like that, like a —” she makes an “awooga” sound, “but absolutely, Joe Haener, I totally was. Total wolf-[with]-steam-out-of-the-ears.”\u003c/p>\n\u003cp>After he shyly said hello in that Starbucks and asked if she remembered him, she invited him to be her date to the wedding. He had to be at the farm early the next morning, so he declined. They kept in touch, and in 2017 she met up with him after his birthday party – at 2 a.m., the only time they had to meet up while in the same city. Another suspiciously lucky turn of events unfolded: inclement weather canceled his early-morning flight. \u003c/p>\n\u003cp>“That’s [how] we became madly in love, [because] a lightning storm trapped him at my house,” Shaw remembers. “And we just played games and got to know each other and were both trying to pretend to not already be in love.” He proposed in 2020, and she moved to Portland to join him near the farm.\u003c/p>\n\u003ch2>Between sorrow and exuberance\u003c/h2>\n\u003cp>Shaw is calling from Los Angeles, where she moved to be close to friends and her support network. Spanky-Joe the dog is nestled sweetly in her lap. “I feel like he saved my life,” she says of Spanky, her voice breaking just a little. “And I just feel like even though Joe never got to meet him, somehow Joe and him crossed paths on the astral plane. And Joe was like, ‘I’m sending you to go take care of Shannon.’”\u003c/p>\n\u003cp>It’s still hard for her to talk about Haener, and yet, as she’s said on \u003ca href=\"https://www.instagram.com/p/C2OGLvjPYt_/?hl=en&img_index=1\">Instagram\u003c/a> and says on this call, “All I want to do is talk about Joe.” She spent last year doing just that, transferring her grief and confusion over to \u003cem>The Moon Is In The Wrong Place\u003c/em>, which she started writing almost immediately. “I had so much music in my head from the day he died,” she says. “Songs were coming to me.”\u003c/p>\n\u003cfigure id=\"attachment_13956548\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png\" alt=\"Five-person group photo, all in black clothes against maroon background\" width=\"1024\" height=\"680\" class=\"size-full wp-image-13956548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-768x510.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The members of Shannon and the Clams are vocalist and bass player Shannon Shaw, guitarist Cody Blanchard, keyboard player Will Sprott and drummer Nate Mahan. The whole band had grown close to Haener before his death. \u003ccite>(Easy Eye Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result revels in the dichotomy of loss. \u003cem>The Moon Is In The Wrong Place\u003c/em> stings like a freshly skinned knee, honest in its depiction of grief to the point of being jarring. But it’s also brimming with a naked joy. It’s a celebration of Haener and the lives he touched during his time here. \u003c/p>\n\u003cp>Opener “The Vow” bludgeons you with that bittersweetness — it’s the song Shaw wrote as a surprise for their wedding. The rest of the Shaw-scribed songs continue in that tone, swinging wildly between sorrow and exuberance. “I’m someone who I think generally can run positive … I just can’t help but see all the extreme, vibrant, beautiful things right next to the really awful realities, you know?” she says.\u003c/p>\n\u003cp>That describes the time she spent in the bean fields, which became a haven for her and the Haener family in the weeks after the accident. “It was such a gnarly scene, you know? There was, like …” she hesitates a moment and her voice quiets. “Burnt flesh and clothing, and all of his personal stuff from his car … but then being surrounded by blossoms … that was like the first time I had been like ‘OK this is a true juxtaposition,’” she says. “This is like life and death, and they’re … operating in the same exact space.” \u003c/p>\n\u003cp>That heady swell of emotions changes day by day, and she’s learned to lean into the positive feelings. “This is the deepest sadness I’ve ever felt in my life,” Shaw says, “and I know that will be there forever, but the little bits of joy that I have gotten to experience also feel so fucking good.”\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/dvo2yOFb7k0'\n title='//www.youtube.com/embed/dvo2yOFb7k0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a culture, we expect art borne of tragedy to pin the creator in place, for them to define themselves by the death of their loved one. We expect them to continuously perform their grief so the rest of us can get a lurid preview of an anguish we can’t know until it happens to us. It’s the joy that Shaw exudes on the album that makes it so novel.\u003c/p>\n\u003cp>Stalling out in grief isn’t something Haener would want for her, anyway. Staying in one place just wasn’t in his nature. “He’s like the least lazy person on earth,” she says. (She still, occasionally, slips into the present tense when talking about him.) “And that was so inspiring to me.”\u003c/p>\n\u003cp>So Shaw, as she says on the record, “keep[s] on chooglin’,” meeting a future without Joe Haener in it: “I would love to be able to help anyone see that there’s more to life, and your person would not want you to stop.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Moon is in the Wrong Place’ is out May 10, 2024 on Easy Eye Sound. \u003ca href=\"https://easyeyesound.com/collections/shannon-the-clams\">Find more information about the album here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956541/shannon-shaw-the-clams-the-moon-is-in-the-wrong-place","authors":["byline_arts_13956541"],"categories":["arts_1","arts_69"],"tags":["arts_10342","arts_10278","arts_2838","arts_3823"],"featImg":"arts_13956732","label":"arts"},"arts_13956554":{"type":"posts","id":"arts_13956554","meta":{"index":"posts_1716263798","site":"arts","id":"13956554","score":null,"sort":[1713993863000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1713993863,"format":"standard","title":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission","headTitle":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission | KQED","content":"\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The booming sounds can be heard in the Mission District all the way down the block. From inside a brightly painted building on 24th Street, upstairs at the Brava Theater Center, 20 drummers pound out a rhythm for nearly three dozen dancers, shaking the floor as they move. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13956328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg\" alt=\"\" width=\"160\" height=\"190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is a typical weeknight rehearsal for \u003ca href=\"https://www.locoblocosf.org/\">Loco Bloco\u003c/a>, whose performers are currently working for hours on end to master intricate choreography and complex drum patterns for their performance at San Francisco’s massive \u003ca href=\"https://carnavalsanfrancisco.org/\">Carnaval celebration\u003c/a> in May.\u003c/p>\n\u003cp>A donations-based organization offering free dance and music classes to young people, Loco Bloco primarily serves the Latin and Afro-Latino communities in the Bay Area. Since its founding in 1994, Loco Bloco has influenced countless young participants, giving them a sense of community, stability and core values.\u003c/p>\n\u003cfigure id=\"attachment_13956568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antonio ‘Tico’ Dos Santos leads a Loco Bloco drum lesson at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prime example of this is 15-year-old dancer Jediah Pratt, who began dancing with Loco Bloco when she was just 6 years old. When asked about the benefits of the program, she emphasizes the group’s tight-knit bond, and how much it means to her and her family since moving out of San Francisco with its rising costs. Now living an hour away, she says the program has kept her connected to the city where her family lived for generations.\u003c/p>\n\u003cfigure id=\"attachment_13956565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt (center right), 15, practices with a Loco Bloco dance group lead by artistic director Mayela Carrasco at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jediah’s family has a long history with Loco Bloco. Her mother Ramona was introduced to the program by one of its founders, Jose Carrasco, when she was 11, and would watch rehearsals from the sidelines after school before joining in herself as a drummer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many years later, when Jediah was just 5, she saw the group perform — feathers, floats, colors and all — and begged her mom to join. In first grade, her wish came true, and she dutifully showed up to rehearsals, rain or shine. (Once, when a family member died, she remembers wanting to go to Loco Bloco rehearsal instead of their funeral.)\u003c/p>\n\u003cfigure id=\"attachment_13956564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, stands outside Brava Theater in San Francisco on April 22, 2024, before dance practice with the group Loco Bloco to prepare for Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s grown up with Loco Bloco, which I think is a beautiful thing,” says Ramona of her daughter. “I’ve asked over and over again, ‘Is this what you really want to do? Because you’re really good at it.’”\u003c/p>\n\u003cp>Three years ago, the closeness and familial bond of the program gave Jediah and her family a sense of stability after moving to Concord due to high costs and inflation. It was a difficult time, and her new home and school were vastly different from San Francisco. Yet Jediah and her three siblings still attended Loco Bloco every Monday and Wednesday.\u003c/p>\n\u003cfigure id=\"attachment_13956569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco managing director Jose Carrasco leads a drum group during practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jediah is really the best,” said Jose Carrasco, now Loco Bloco’s managing director. “She has really developed into a beautiful artist, and through the years I’ve watched her blossom.” Jediah helps out with the younger kids and their stilts lessons, Carrasco is quick to point out, while Ramona spends her time drumming and volunteering for the program.\u003c/p>\n\u003cp>Two years ago, Jediah’s family moved to Fairfield, an hour away from San Francisco without traffic, where her routine and environment changed once again. She began high school in Fairfield this year, which she described as rough. She didn’t know anybody at first, and went to a school with thousands of kids and “fights every day on the schoolyard.”\u003c/p>\n\u003cfigure id=\"attachment_13956567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, talks with friends during Loco Bloco dance practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, every Monday and Wednesday at 5 p.m., Ramona drives the family down I-80 and through the city’s traffic to Loco Bloco, where Jediah and her siblings dance and drum for hours. They don’t get back home until 11 p.m. While it may sound strenuous, when asked about it, Jediah says, “I feel like everybody is kind of like family. Everyone knows everyone, and we’re always there for each other, looking out for each other.”\u003c/p>\n\u003cp>For this year’s Carnaval, Jediah is one of just two teens dancing with the adults. Though the rehearsals and dances are difficult, the hardest part of preparing for Carnaval is the costumes, she says. Each year the dancers are given costumes to decorate with rhinestones or other accouterments and make their own. Jediah recalls staying up until one a.m. the night before last year’s Carnaval, trying to finish her outfit and falling asleep with the hot glue gun in hand.\u003c/p>\n\u003cfigure id=\"attachment_13956563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, helps stilt walkers for the group Loco Bloco practice outside Brava Theater in San Francisco on April 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jediah continues to navigate the challenges of adjusting to a new environment and the demands of high school life, her dedication to Loco Bloco remains a testament to the power of community and art. Through Loco Bloco, she not only hones her skills as an artist but also cultivates resilience, perseverance, and a sense of belonging.\u003c/p>\n\u003cp>At the upcoming Carnaval performance, there’ll be drums, dancing and colorful costumes — and for Jediah, there’ll also be the enduring impact of cultural expression and the bonds forged through shared experiences.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Loco Bloco performs as part of this year’s San Francisco’s Carnaval, running May 25–26 in the Mission District. \u003ca href=\"https://carnavalsanfrancisco.org/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Binnie Kenvin is a Junior at University High School. She is passionate about screenwriting, dancing and playing bass, and loves to hang out with her three dogs. In the future she hopes to be a screenwriter. \u003c/em>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1122,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":19},"modified":1715272353,"excerpt":"As rehearsals heat up for this year's Carnaval, one 15-year-old dancer calls Loco Bloco 'like family.' ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"As rehearsals heat up for this year's Carnaval, one 15-year-old dancer calls Loco Bloco 'like family.' ","title":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission","datePublished":"2024-04-24T14:24:23-07:00","dateModified":"2024-05-09T09:32:33-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"loco-bloco-mission-district-carnaval-jediah-pratt","status":"publish","templateType":"standard","nprByline":"Binnie Kenvin","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"showOnAuthorArchivePages":"No","WpOldSlug":"the-drumbeat-of-home-how-loco-bloco-keeps-one-family-tethered-to-the-mission","articleAge":"0","nprStoryId":"kqed-13956554","path":"/arts/13956554/loco-bloco-mission-district-carnaval-jediah-pratt","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The booming sounds can be heard in the Mission District all the way down the block. From inside a brightly painted building on 24th Street, upstairs at the Brava Theater Center, 20 drummers pound out a rhythm for nearly three dozen dancers, shaking the floor as they move. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13956328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg\" alt=\"\" width=\"160\" height=\"190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is a typical weeknight rehearsal for \u003ca href=\"https://www.locoblocosf.org/\">Loco Bloco\u003c/a>, whose performers are currently working for hours on end to master intricate choreography and complex drum patterns for their performance at San Francisco’s massive \u003ca href=\"https://carnavalsanfrancisco.org/\">Carnaval celebration\u003c/a> in May.\u003c/p>\n\u003cp>A donations-based organization offering free dance and music classes to young people, Loco Bloco primarily serves the Latin and Afro-Latino communities in the Bay Area. Since its founding in 1994, Loco Bloco has influenced countless young participants, giving them a sense of community, stability and core values.\u003c/p>\n\u003cfigure id=\"attachment_13956568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antonio ‘Tico’ Dos Santos leads a Loco Bloco drum lesson at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prime example of this is 15-year-old dancer Jediah Pratt, who began dancing with Loco Bloco when she was just 6 years old. When asked about the benefits of the program, she emphasizes the group’s tight-knit bond, and how much it means to her and her family since moving out of San Francisco with its rising costs. Now living an hour away, she says the program has kept her connected to the city where her family lived for generations.\u003c/p>\n\u003cfigure id=\"attachment_13956565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt (center right), 15, practices with a Loco Bloco dance group lead by artistic director Mayela Carrasco at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jediah’s family has a long history with Loco Bloco. Her mother Ramona was introduced to the program by one of its founders, Jose Carrasco, when she was 11, and would watch rehearsals from the sidelines after school before joining in herself as a drummer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many years later, when Jediah was just 5, she saw the group perform — feathers, floats, colors and all — and begged her mom to join. In first grade, her wish came true, and she dutifully showed up to rehearsals, rain or shine. (Once, when a family member died, she remembers wanting to go to Loco Bloco rehearsal instead of their funeral.)\u003c/p>\n\u003cfigure id=\"attachment_13956564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, stands outside Brava Theater in San Francisco on April 22, 2024, before dance practice with the group Loco Bloco to prepare for Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s grown up with Loco Bloco, which I think is a beautiful thing,” says Ramona of her daughter. “I’ve asked over and over again, ‘Is this what you really want to do? Because you’re really good at it.’”\u003c/p>\n\u003cp>Three years ago, the closeness and familial bond of the program gave Jediah and her family a sense of stability after moving to Concord due to high costs and inflation. It was a difficult time, and her new home and school were vastly different from San Francisco. Yet Jediah and her three siblings still attended Loco Bloco every Monday and Wednesday.\u003c/p>\n\u003cfigure id=\"attachment_13956569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco managing director Jose Carrasco leads a drum group during practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jediah is really the best,” said Jose Carrasco, now Loco Bloco’s managing director. “She has really developed into a beautiful artist, and through the years I’ve watched her blossom.” Jediah helps out with the younger kids and their stilts lessons, Carrasco is quick to point out, while Ramona spends her time drumming and volunteering for the program.\u003c/p>\n\u003cp>Two years ago, Jediah’s family moved to Fairfield, an hour away from San Francisco without traffic, where her routine and environment changed once again. She began high school in Fairfield this year, which she described as rough. She didn’t know anybody at first, and went to a school with thousands of kids and “fights every day on the schoolyard.”\u003c/p>\n\u003cfigure id=\"attachment_13956567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, talks with friends during Loco Bloco dance practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, every Monday and Wednesday at 5 p.m., Ramona drives the family down I-80 and through the city’s traffic to Loco Bloco, where Jediah and her siblings dance and drum for hours. They don’t get back home until 11 p.m. While it may sound strenuous, when asked about it, Jediah says, “I feel like everybody is kind of like family. Everyone knows everyone, and we’re always there for each other, looking out for each other.”\u003c/p>\n\u003cp>For this year’s Carnaval, Jediah is one of just two teens dancing with the adults. Though the rehearsals and dances are difficult, the hardest part of preparing for Carnaval is the costumes, she says. Each year the dancers are given costumes to decorate with rhinestones or other accouterments and make their own. Jediah recalls staying up until one a.m. the night before last year’s Carnaval, trying to finish her outfit and falling asleep with the hot glue gun in hand.\u003c/p>\n\u003cfigure id=\"attachment_13956563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, helps stilt walkers for the group Loco Bloco practice outside Brava Theater in San Francisco on April 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jediah continues to navigate the challenges of adjusting to a new environment and the demands of high school life, her dedication to Loco Bloco remains a testament to the power of community and art. Through Loco Bloco, she not only hones her skills as an artist but also cultivates resilience, perseverance, and a sense of belonging.\u003c/p>\n\u003cp>At the upcoming Carnaval performance, there’ll be drums, dancing and colorful costumes — and for Jediah, there’ll also be the enduring impact of cultural expression and the bonds forged through shared experiences.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Loco Bloco performs as part of this year’s San Francisco’s Carnaval, running May 25–26 in the Mission District. \u003ca href=\"https://carnavalsanfrancisco.org/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Binnie Kenvin is a Junior at University High School. She is passionate about screenwriting, dancing and playing bass, and loves to hang out with her three dogs. In the future she hopes to be a screenwriter. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956554/loco-bloco-mission-district-carnaval-jediah-pratt","authors":["byline_arts_13956554"],"categories":["arts_1","arts_835","arts_966","arts_76","arts_11615","arts_69","arts_235"],"tags":["arts_10342","arts_10278","arts_1257","arts_822","arts_1146","arts_4533"],"featImg":"arts_13956570","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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