Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died
Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage
Honey Mahogany Chosen to Lead SF's Office of Transgender Initiatives
‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music
Berkeley's Market Hall Foods Is Closing After 28 Years
You Can Now Get Legally Married at Outside Lands
Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?
The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission
SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter
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Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/z8O2ToQ_Dok?si=V9Teqg2qW9BhGo_Q\u003c/p>\n\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/FStWWeWOXJA?si=Gpp4086tEAN-VIat\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n","blocks":[],"excerpt":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. ","status":"publish","parent":0,"modified":1714775102,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":400},"headData":{"title":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died | KQED","description":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. 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Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/z8O2ToQ_Dok'\n title='//www.youtube.com/embed/z8O2ToQ_Dok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\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/FStWWeWOXJA'\n title='//www.youtube.com/embed/FStWWeWOXJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957227/gary-floyd-san-francisco-queer-punk-iconoclast-has-died","authors":["11387"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_10278","arts_913","arts_1079"],"featImg":"arts_13957230","label":"arts"},"arts_13957143":{"type":"posts","id":"arts_13957143","meta":{"index":"posts_1591205157","site":"arts","id":"13957143","score":null,"sort":[1714688541000]},"guestAuthors":[],"slug":"late-night-japanese-whisky-highball-karaage-sunnyvale-nokori","title":"Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage","publishDate":1714688541,"format":"aside","headTitle":"Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13957148\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg\" alt=\"Illustration: a man shovels scallops into his mouth while sitting at an elegant bar. On the counter are tidy lobster sandwiches and fizzy cocktails in highball glasses.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nokori is a Japanese whisky highball bar hidden inside Sunnyvale’s TETRA Hotel. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Here in the Bay Area, the search for late-night food is mostly a matter of excavating the unexpected gems that are hiding in plain sight.\u003c/p>\n\u003cp>To wit: In order to get to \u003ca href=\"https://www.yelp.com/biz/nokori-sunnyvale\">Nokori\u003c/a>, an elegant Japanese whisky bar in Sunnyvale that most Sunnyvaleans haven’t even heard of, you first have to navigate the city’s maze of identical high-tech office parks. Sandwiched between a couple of these anonymous tech campuses sits a \u003ca href=\"https://www.marriott.com/en-us/hotels/sjcva-tetra-hotel-autograph-collection/overview/\">stylish boutique hotel\u003c/a>. And inside that hotel, after you walk through the cool, minimalistic lobby, past the shiny gold leaves dangling from the ceiling, you’ll spot this very chic, very Japanese little cocktail bar — with room for no more than seven or eight people at the counter.\u003c/p>\n\u003cp>When we sidled up to that counter at around 10 o’clock on a recent Friday, there was only one other gentleman there, nursing a cocktail and watching the Japanese F1 race on the TV with the volume turned off. So it really felt like we had stumbled on a secret spot.\u003c/p>\n\u003cp>Of course, we had come because we’d heard Nokori was open until midnight every night, and that it served a concise, appealing menu of fancy izakaya-style small plates until the kitchen did its last call at 11. And also because the bar specializes in the Japanese whisky highball, which happens to be my favorite drink.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A basic highball is just Japanese whisky, soda water and ice, but Nokori is one of a handful of bars around the Bay Area that has installed a \u003ca href=\"https://punchdrink.com/articles/toki-japanese-whisky-highball-machine-has-been-hacked/\">special soda dispenser\u003c/a> from Japan that makes the soda water extra-extra fizzy — so much so that the bubbles look visibly angry. The bar serves a whopping nine different highballs, and it uses the expensive kind of ice that’s just one long, perfectly clear cuboid in your glass. All of which to say: My yuzu highball was fantastic. Cold and refreshing as could be. Subtly citrusy. Sneakily strong.\u003c/p>\n\u003cfigure id=\"attachment_13957149\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg\" alt=\"Illustration: An elegant hotel lobby with modern, minimalist couches and an elegant bar at one end of the room, with sparkly gold leaves dangling from the ceiling.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For late-night diners looking for a more quiet and chill experience. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the food, however, that will bring me back. We ordered torched Hokkaido scallops that were served in a style you might expect to find at one of the Bay Area’s buzzier, Asian-inflected fine dining restaurants. The mostly raw scallops had a zippy leche de tigre dressing and were artfully garnished with algae, rice puffs and briny sea grapes that burst in your mouth — a fun pop-and-crunch effect.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13956683,arts_13955884,arts_13954112']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>I also had one of the tastiest versions of Japanese karaage-style fried chicken that I’ve eaten in months — just impeccably crispy, well-seasoned and juicy thighs, no bells and whistles other than the little bowl of watery onion salsa that you could spoon over the chicken for a bit of brightness. And, perhaps most decadently, there were furikake-topped lobster grilled cheese sandwiches, served on bouncy Japanese milk bread. (Could I \u003ci>really\u003c/i> taste that it was lobster, instead of some less rarefied protein, under all that cheese? Maybe not. But I did want to dunk everything on the table into the savory miso aioli that came with the sandwich.)\u003c/p>\n\u003cp>No surprise, all those small plates can add up to a bit of a hefty bill if you’re eating \u003ci>dinner\u003c/i> dinner. But for a fancy late-night snack at the bar? Considering that we were the only people ordering food at that hour, everything was so much more ambitious and better-tasting than it really needed to be.\u003c/p>\n\u003cp>So many of the Bay Area’s other after-hours spots are notable because of how crowded and bustling they are even late into the night, but Nokori’s virtues run in the opposite direction, appealing to anyone looking for a more chill and quiet late-night experience. This is the kind of elegant hotel bar where you might imagine yourself striking up a conversation with a beautiful stranger, or maybe your side-piece — or, if luck isn’t on your side, a couple of unkempt food writer types.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tetrahotelsv.com/dining/nokori/\">\u003ci>Nokori\u003c/i>\u003c/a>\u003ci> is open daily from 3 p.m. to midnight inside TETRA Hotel (400 W. Java Dr., Sunnyvale); the kitchen is open 4–11 p.m. If you park in the hotel parking garage, Nokori will validate your parking.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Nokori's highballs and Japanese small plates are some of the South Bay’s best-kept secrets.","status":"publish","parent":0,"modified":1714691484,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":803},"headData":{"title":"Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage | KQED","description":"Nokori's highballs and Japanese small plates are some of the South Bay’s best-kept secrets.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage","datePublished":"2024-05-02T22:22:21.000Z","dateModified":"2024-05-02T23:11:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"nprStoryId":"kqed-13957143","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957143/late-night-japanese-whisky-highball-karaage-sunnyvale-nokori","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957148\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg\" alt=\"Illustration: a man shovels scallops into his mouth while sitting at an elegant bar. On the counter are tidy lobster sandwiches and fizzy cocktails in highball glasses.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nokori is a Japanese whisky highball bar hidden inside Sunnyvale’s TETRA Hotel. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Here in the Bay Area, the search for late-night food is mostly a matter of excavating the unexpected gems that are hiding in plain sight.\u003c/p>\n\u003cp>To wit: In order to get to \u003ca href=\"https://www.yelp.com/biz/nokori-sunnyvale\">Nokori\u003c/a>, an elegant Japanese whisky bar in Sunnyvale that most Sunnyvaleans haven’t even heard of, you first have to navigate the city’s maze of identical high-tech office parks. Sandwiched between a couple of these anonymous tech campuses sits a \u003ca href=\"https://www.marriott.com/en-us/hotels/sjcva-tetra-hotel-autograph-collection/overview/\">stylish boutique hotel\u003c/a>. And inside that hotel, after you walk through the cool, minimalistic lobby, past the shiny gold leaves dangling from the ceiling, you’ll spot this very chic, very Japanese little cocktail bar — with room for no more than seven or eight people at the counter.\u003c/p>\n\u003cp>When we sidled up to that counter at around 10 o’clock on a recent Friday, there was only one other gentleman there, nursing a cocktail and watching the Japanese F1 race on the TV with the volume turned off. So it really felt like we had stumbled on a secret spot.\u003c/p>\n\u003cp>Of course, we had come because we’d heard Nokori was open until midnight every night, and that it served a concise, appealing menu of fancy izakaya-style small plates until the kitchen did its last call at 11. And also because the bar specializes in the Japanese whisky highball, which happens to be my favorite drink.\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>A basic highball is just Japanese whisky, soda water and ice, but Nokori is one of a handful of bars around the Bay Area that has installed a \u003ca href=\"https://punchdrink.com/articles/toki-japanese-whisky-highball-machine-has-been-hacked/\">special soda dispenser\u003c/a> from Japan that makes the soda water extra-extra fizzy — so much so that the bubbles look visibly angry. The bar serves a whopping nine different highballs, and it uses the expensive kind of ice that’s just one long, perfectly clear cuboid in your glass. All of which to say: My yuzu highball was fantastic. Cold and refreshing as could be. Subtly citrusy. Sneakily strong.\u003c/p>\n\u003cfigure id=\"attachment_13957149\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg\" alt=\"Illustration: An elegant hotel lobby with modern, minimalist couches and an elegant bar at one end of the room, with sparkly gold leaves dangling from the ceiling.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For late-night diners looking for a more quiet and chill experience. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the food, however, that will bring me back. We ordered torched Hokkaido scallops that were served in a style you might expect to find at one of the Bay Area’s buzzier, Asian-inflected fine dining restaurants. The mostly raw scallops had a zippy leche de tigre dressing and were artfully garnished with algae, rice puffs and briny sea grapes that burst in your mouth — a fun pop-and-crunch effect.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956683,arts_13955884,arts_13954112","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>I also had one of the tastiest versions of Japanese karaage-style fried chicken that I’ve eaten in months — just impeccably crispy, well-seasoned and juicy thighs, no bells and whistles other than the little bowl of watery onion salsa that you could spoon over the chicken for a bit of brightness. And, perhaps most decadently, there were furikake-topped lobster grilled cheese sandwiches, served on bouncy Japanese milk bread. (Could I \u003ci>really\u003c/i> taste that it was lobster, instead of some less rarefied protein, under all that cheese? Maybe not. But I did want to dunk everything on the table into the savory miso aioli that came with the sandwich.)\u003c/p>\n\u003cp>No surprise, all those small plates can add up to a bit of a hefty bill if you’re eating \u003ci>dinner\u003c/i> dinner. But for a fancy late-night snack at the bar? Considering that we were the only people ordering food at that hour, everything was so much more ambitious and better-tasting than it really needed to be.\u003c/p>\n\u003cp>So many of the Bay Area’s other after-hours spots are notable because of how crowded and bustling they are even late into the night, but Nokori’s virtues run in the opposite direction, appealing to anyone looking for a more chill and quiet late-night experience. This is the kind of elegant hotel bar where you might imagine yourself striking up a conversation with a beautiful stranger, or maybe your side-piece — or, if luck isn’t on your side, a couple of unkempt food writer types.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tetrahotelsv.com/dining/nokori/\">\u003ci>Nokori\u003c/i>\u003c/a>\u003ci> is open daily from 3 p.m. to midnight inside TETRA Hotel (400 W. Java Dr., Sunnyvale); the kitchen is open 4–11 p.m. If you park in the hotel parking garage, Nokori will validate your parking.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957143/late-night-japanese-whisky-highball-karaage-sunnyvale-nokori","authors":["11743","11753"],"categories":["arts_1","arts_12276","arts_235"],"tags":["arts_22055","arts_10278","arts_10422","arts_1297","arts_21732","arts_8805","arts_3001","arts_2475","arts_14954","arts_21928"],"featImg":"arts_13957147","label":"source_arts_13957143"},"arts_13957070":{"type":"posts","id":"arts_13957070","meta":{"index":"posts_1591205157","site":"arts","id":"13957070","score":null,"sort":[1714675290000]},"guestAuthors":[],"slug":"honey-mahogany-chosen-to-lead-sfs-office-of-transgender-initiatives","title":"Honey Mahogany Chosen to Lead SF's Office of Transgender Initiatives","publishDate":1714675290,"format":"standard","headTitle":"Honey Mahogany Chosen to Lead SF’s Office of Transgender Initiatives | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco Mayor London Breed has appointed multi-hyphenate community advocate, artist and former San Francisco Democratic Party Chair Honey Mahogany to lead the \u003ca href=\"https://www.sf.gov/departments/city-administrator/office-transgender-initiatives\">Office of Transgender Initiatives\u003c/a>. The office was founded in 2017 to connect San Francisco’s trans and gender-nonconforming communities to resources and advocate for their needs within city government. Mahogany’s first day is May 6.\u003c/p>\n\u003cp>“I am grateful to Mayor Breed for the opportunity to take on this role in this first of its kind office, and to fight for my community at this pivotal time in our nation’s history,” Mahogany said in a statement. “After two decades of community-based work and legislative experience, I look forward to leveraging all I have learned over the years in service of this office and the entire transgender, gender nonconforming, intersex and 2-spirit (TGNCI2S) community. I’m especially excited to be leading an extraordinary team of trans staff at the Office of Transgender Initiatives, and to work alongside longtime community leaders to continue our fight for equity and to ensure that San Francisco continues to be a sanctuary city for the trans community.” [aside postid='arts_13956246']\u003c/p>\n\u003cp>Born and raised in San Francisco, Mahogany first rose to prominence in 2013 as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em>, but quickly turned her focus to community organizing and politics. In 2017, she co-founded San Francisco’s Transgender Cultural District, the first of its kind in the country. She also served as the chief of staff for former San Francisco Supervisor Matt Haney. (She ran to replace Haney in 2022 but lost to current Supervisor Matt Dorsey.)\u003c/p>\n\u003cp>In 2023, while anti-drag and anti-trans legislation swept the nation, she co-organized last year’s \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">Drag Up! Fight Back! march\u003c/a>. Last month, she helped re-open \u003ca href=\"https://www.kqed.org/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening\">historic LGBTQ+ venue The Stud\u003c/a> as a co-founder of its worker-owner collective.\u003c/p>\n\u003cp>“Honey Mahogany is a proven champion and in her new role will work to advance San Francisco’s values of inclusion that will inspire communities everywhere and future generations,” said Breed in a statement. “I look forward to partnering with Honey to ensure our City continues to be a place of acceptance, fairness, and opportunities for all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Following Mahogany’s appointment, the Office of Transgender Initiatives will move from the City Administrator’s Office to the Human Rights Commission, which addresses causes and effects of discrimination. The office was formerly led by Pau Crego, who helped establish initiatives like Mayor Breed’s plan to end trans homelessness by 2027.\u003c/p>\n\n","blocks":[],"excerpt":"The longtime community advocate will helm the office connecting gender-nonconforming people to resources.","status":"publish","parent":0,"modified":1714675521,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":444},"headData":{"title":"Honey Mahogany Chosen to Lead SF's Office of Transgender Initiatives | KQED","description":"The longtime community advocate will helm the office connecting gender-nonconforming people to resources.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Honey Mahogany Chosen to Lead SF's Office of Transgender Initiatives","datePublished":"2024-05-02T18:41:30.000Z","dateModified":"2024-05-02T18:45:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957070","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957070/honey-mahogany-chosen-to-lead-sfs-office-of-transgender-initiatives","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed has appointed multi-hyphenate community advocate, artist and former San Francisco Democratic Party Chair Honey Mahogany to lead the \u003ca href=\"https://www.sf.gov/departments/city-administrator/office-transgender-initiatives\">Office of Transgender Initiatives\u003c/a>. The office was founded in 2017 to connect San Francisco’s trans and gender-nonconforming communities to resources and advocate for their needs within city government. Mahogany’s first day is May 6.\u003c/p>\n\u003cp>“I am grateful to Mayor Breed for the opportunity to take on this role in this first of its kind office, and to fight for my community at this pivotal time in our nation’s history,” Mahogany said in a statement. “After two decades of community-based work and legislative experience, I look forward to leveraging all I have learned over the years in service of this office and the entire transgender, gender nonconforming, intersex and 2-spirit (TGNCI2S) community. I’m especially excited to be leading an extraordinary team of trans staff at the Office of Transgender Initiatives, and to work alongside longtime community leaders to continue our fight for equity and to ensure that San Francisco continues to be a sanctuary city for the trans community.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956246","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born and raised in San Francisco, Mahogany first rose to prominence in 2013 as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em>, but quickly turned her focus to community organizing and politics. In 2017, she co-founded San Francisco’s Transgender Cultural District, the first of its kind in the country. She also served as the chief of staff for former San Francisco Supervisor Matt Haney. (She ran to replace Haney in 2022 but lost to current Supervisor Matt Dorsey.)\u003c/p>\n\u003cp>In 2023, while anti-drag and anti-trans legislation swept the nation, she co-organized last year’s \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">Drag Up! Fight Back! march\u003c/a>. Last month, she helped re-open \u003ca href=\"https://www.kqed.org/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening\">historic LGBTQ+ venue The Stud\u003c/a> as a co-founder of its worker-owner collective.\u003c/p>\n\u003cp>“Honey Mahogany is a proven champion and in her new role will work to advance San Francisco’s values of inclusion that will inspire communities everywhere and future generations,” said Breed in a statement. “I look forward to partnering with Honey to ensure our City continues to be a place of acceptance, fairness, and opportunities for all.”\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>Following Mahogany’s appointment, the Office of Transgender Initiatives will move from the City Administrator’s Office to the Human Rights Commission, which addresses causes and effects of discrimination. The office was formerly led by Pau Crego, who helped establish initiatives like Mayor Breed’s plan to end trans homelessness by 2027.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957070/honey-mahogany-chosen-to-lead-sfs-office-of-transgender-initiatives","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_3226","arts_4953","arts_1146"],"featImg":"arts_13915269","label":"arts"},"arts_13956979":{"type":"posts","id":"arts_13956979","meta":{"index":"posts_1591205157","site":"arts","id":"13956979","score":null,"sort":[1714670010000]},"guestAuthors":[],"slug":"art-of-noise-sfmoma-music-fillmore-stereo-review","title":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","publishDate":1714670010,"format":"standard","headTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>[aside postID='arts_13414955']The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Elegant design, strange stereos and hundreds of music posters make up this scattershot but fun exhibition.","status":"publish","parent":0,"modified":1714847779,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":979},"headData":{"title":"Review: ‘Art of Noise’ at SFMOMA Explores Our Weird Musical Ways | KQED","description":"Elegant design, strange stereos and hundreds of music posters make up this scattershot but fun exhibition.","ogTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","ogDescription":"","ogImgId":"","twTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","twDescription":"","twImgId":"","socialTitle":"Review: ‘Art of Noise’ at SFMOMA Explores Our Weird Musical Ways %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","datePublished":"2024-05-02T17:13:30.000Z","dateModified":"2024-05-04T18:36:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956979","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956979/art-of-noise-sfmoma-music-fillmore-stereo-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13414955","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\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>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956979/art-of-noise-sfmoma-music-fillmore-stereo-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_76","arts_69","arts_235","arts_70"],"tags":["arts_10278","arts_1806","arts_831","arts_1420","arts_769","arts_22122","arts_1146","arts_1381","arts_585"],"featImg":"arts_13957027","label":"arts_140"},"arts_13956901":{"type":"posts","id":"arts_13956901","meta":{"index":"posts_1591205157","site":"arts","id":"13956901","score":null,"sort":[1714518854000]},"guestAuthors":[],"slug":"fourth-street-market-hall-foods-berkeley-closed","title":"Berkeley's Market Hall Foods Is Closing After 28 Years","publishDate":1714518854,"format":"standard","headTitle":"Berkeley’s Market Hall Foods Is Closing After 28 Years | KQED","labelTerm":{},"content":"\u003cp>Anyone who has ever perused the quaint aisles of specialty cheeses, imported pastas, organic jams and much more at \u003ca href=\"https://www.instagram.com/markethallfoods/\">Market Hall Foods\u003c/a> on Fourth Street in Berkeley will be saddened to hear that the 28-year specialty grocer will be shuttering next month. Market Hall’s flagship location in Rockridge will remain open.\u003c/p>\n\u003cp>Open since 1996, the upscale shop (formerly known as The Pasta Shop) has always been the kind of place where you’d run into local chefs stocking up on hard-to-find goods — a reliable little market where you could pop by for a quality lunch on the go. It’s also been \u003ca href=\"https://edibleeastbay.com/2017/11/15/market-hall-at-30/\">a cornerstone for locally-sourced ingredients and high-quality products\u003c/a> long before it became a national trend.\u003c/p>\n\u003cp>[aside postID='arts_13954342,arts_13931296']The market’s Berkeley location is slated for its final day on Sunday, May 26 (Memorial Day weekend). Customers will be able to continue shopping there for the next few weeks. After that, there won’t be any remaining grocery options in the Fourth Street shopping district proper, though a Trader Joe’s, a Whole Foods and Berkeley Bowl West all continue to operate nearby.\u003c/p>\n\u003cp>In a heartfelt \u003ca href=\"https://rockridgemarkethall.com/images/mf4_announcement.pdf\">public letter\u003c/a> released earlier today, co-owner Sara E. Wilson — who founded the original shop in Oakland in 1987 with her two brothers, Tony and Peter — stated a variety of post-COVID economic factors that has led to the difficult decision. “We recognize that this closure is the best way to ensure the strength of our overall business,” she says.\u003c/p>\n\u003cp>It’s the latest in an ongoing slew of small, local businesses having to unexpectedly pivot — either by downsizing or closing completely — due to various cost factors in an ever-expensive Bay Area economy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Like many other retailers and food establishments, we have been experiencing new challenges post-COVID… with more people working from home, we could no longer rely on those customers.”\u003c/p>\n\u003cp>In addition to serving fewer customers than in the past, the letter also references how remaining customers ”have become more cautious with their spending and are buying fewer items.” They make clear that the building owners did not raise rent or anything of the sort, instead citing “shifts in customer patterns” as an unscalable financial barrier.\u003c/p>\n\u003cfigure id=\"attachment_13956921\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg\" alt='Exterior facade of a specialty grocery store. The sign reads, \"Market Hall Foods on 4th.\"' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s final day of business will be May 26. \u003ccite>(Courtesy of Market Hall Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson also cited how it has been challenging for the company “to cover increased wage and benefit costs” — a reference, perhaps, to the City of Berkeley’s recent increase of its minimum wage to $20 per hour.\u003c/p>\n\u003cp>Fortunately, the market’s sister location in Oakland’s Rockridge neighborhood will continue to operate. In her letter, Wilson notes that because the Rockridge location is centralized in a residential area, it has been able to better endure the challenges of a difficult economy.\u003c/p>\n\u003cp>Of the 48 employees — kitchen, bakery and retail — who will be affected by the closure, some will be transferring to the Oakland location, while others will receive severance packages. They were informed on April 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For its final weekend in Berkeley, Market Hall Foods will host a “closing celebration,” with more details to be announced shortly.\u003c/p>\n\n","blocks":[],"excerpt":"The locally-adored Fourth St. market is unexpectedly shuttering due to post-COVID challenges.","status":"publish","parent":0,"modified":1714537959,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":561},"headData":{"title":"Berkeley's Market Hall Foods Is Closing After 28 Years | KQED","description":"The locally-adored Fourth St. market is unexpectedly shuttering due to post-COVID challenges.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Berkeley's Market Hall Foods Is Closing After 28 Years","datePublished":"2024-04-30T23:14:14.000Z","dateModified":"2024-05-01T04:32:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13956901","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956901/fourth-street-market-hall-foods-berkeley-closed","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone who has ever perused the quaint aisles of specialty cheeses, imported pastas, organic jams and much more at \u003ca href=\"https://www.instagram.com/markethallfoods/\">Market Hall Foods\u003c/a> on Fourth Street in Berkeley will be saddened to hear that the 28-year specialty grocer will be shuttering next month. Market Hall’s flagship location in Rockridge will remain open.\u003c/p>\n\u003cp>Open since 1996, the upscale shop (formerly known as The Pasta Shop) has always been the kind of place where you’d run into local chefs stocking up on hard-to-find goods — a reliable little market where you could pop by for a quality lunch on the go. It’s also been \u003ca href=\"https://edibleeastbay.com/2017/11/15/market-hall-at-30/\">a cornerstone for locally-sourced ingredients and high-quality products\u003c/a> long before it became a national trend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954342,arts_13931296","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The market’s Berkeley location is slated for its final day on Sunday, May 26 (Memorial Day weekend). Customers will be able to continue shopping there for the next few weeks. After that, there won’t be any remaining grocery options in the Fourth Street shopping district proper, though a Trader Joe’s, a Whole Foods and Berkeley Bowl West all continue to operate nearby.\u003c/p>\n\u003cp>In a heartfelt \u003ca href=\"https://rockridgemarkethall.com/images/mf4_announcement.pdf\">public letter\u003c/a> released earlier today, co-owner Sara E. Wilson — who founded the original shop in Oakland in 1987 with her two brothers, Tony and Peter — stated a variety of post-COVID economic factors that has led to the difficult decision. “We recognize that this closure is the best way to ensure the strength of our overall business,” she says.\u003c/p>\n\u003cp>It’s the latest in an ongoing slew of small, local businesses having to unexpectedly pivot — either by downsizing or closing completely — due to various cost factors in an ever-expensive Bay Area economy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Like many other retailers and food establishments, we have been experiencing new challenges post-COVID… with more people working from home, we could no longer rely on those customers.”\u003c/p>\n\u003cp>In addition to serving fewer customers than in the past, the letter also references how remaining customers ”have become more cautious with their spending and are buying fewer items.” They make clear that the building owners did not raise rent or anything of the sort, instead citing “shifts in customer patterns” as an unscalable financial barrier.\u003c/p>\n\u003cfigure id=\"attachment_13956921\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg\" alt='Exterior facade of a specialty grocery store. The sign reads, \"Market Hall Foods on 4th.\"' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s final day of business will be May 26. \u003ccite>(Courtesy of Market Hall Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson also cited how it has been challenging for the company “to cover increased wage and benefit costs” — a reference, perhaps, to the City of Berkeley’s recent increase of its minimum wage to $20 per hour.\u003c/p>\n\u003cp>Fortunately, the market’s sister location in Oakland’s Rockridge neighborhood will continue to operate. In her letter, Wilson notes that because the Rockridge location is centralized in a residential area, it has been able to better endure the challenges of a difficult economy.\u003c/p>\n\u003cp>Of the 48 employees — kitchen, bakery and retail — who will be affected by the closure, some will be transferring to the Oakland location, while others will receive severance packages. They were informed on April 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For its final weekend in Berkeley, Market Hall Foods will host a “closing celebration,” with more details to be announced shortly.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956901/fourth-street-market-hall-foods-berkeley-closed","authors":["11748"],"categories":["arts_1","arts_12276","arts_235"],"tags":["arts_1270","arts_10331","arts_5569","arts_10278","arts_1297"],"featImg":"arts_13956906","label":"source_arts_13956901"},"arts_13956845":{"type":"posts","id":"arts_13956845","meta":{"index":"posts_1591205157","site":"arts","id":"13956845","score":null,"sort":[1714504530000]},"guestAuthors":[],"slug":"legal-weddings-married-outisde-lands-city-hall","title":"You Can Now Get Legally Married at Outside Lands","publishDate":1714504530,"format":"standard","headTitle":"You Can Now Get Legally Married at Outside Lands | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Imagine that you’re with your sweetie during the Postal Service’s set at \u003ca href=\"https://www.kqed.org/arts/13956373/outside-lands-lineup-2024-san-francisco\">Outside Lands\u003c/a>, and you’re \u003ca href=\"https://youtu.be/0wrsZog8qXg?si=BauxWOBgK3aEI_9k\">thinking it’s a sign that the freckles in your eyes are mirror images\u003c/a>, and when you kiss they’re perfectly aligned. If you know you want to spend forever with this person, good news: you can now get legally married at Outside Lands. [aside postid='arts_13956373']\u003c/p>\n\u003cp>When the music festival returns to San Francisco’s Golden Gate Park this August, it will feature a wedding venue called \u003ca href=\"https://sfoutsidelands.com/city-hall/city-hall/\">City Hall\u003c/a>. Ticketholders looking to tie the knot during the downtime between their favorite artists now have the option of a small ceremony with an officiant, wedding photographer and seating for guests. It comes with a $350 price tag (on top of festival tickets), and gives you access to a locker for the day, drink tickets and a wedding lounge to get glammed up.\u003c/p>\n\u003cp>It’s important to note that couples must B.Y.O.-\u003ca href=\"https://www.sf.gov/get-marriage-license\">marriage license\u003c/a>, which is easy to apply for online and can be picked up same day. Couples renewing their vows must bring a copy of their marriage certificate.\u003c/p>\n\u003cp>The addition of the wedding venue — located along McLaren Pass, between the Polo Fields and the Panhandle Stage — coincides with the \u003ca href=\"https://www.sf.gov/news/san-francisco-celebrates-winter-love-20-year-anniversary-marking-historic-milestone-same-sex\">20th anniversary of the “Winter of Love,”\u003c/a> when then-Mayor Gavin Newsom began issuing marriage licenses to San Francisco same-sex couples in 2004. Outside Lands plans to donate a portion of proceeds from these ceremonies to \u003ca href=\"https://lambdalegal.org/\">Lambda Legal\u003c/a>, an LGBTQ+ rights nonprofit.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Outside Lands takes place in San Francisco’s Golden Gate Park Aug. 9-11, featuring Tyler, the Creator, the Killers, Sturgill Simpson, Post Malone, Tyla, the Postal Service and more. \u003ca href=\"https://www.sfoutsidelands.com/\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Couples looking to tie the knot at the popular SF music festival can add a wedding ceremony to their tickets. ","status":"publish","parent":0,"modified":1714504530,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":302},"headData":{"title":"You Can Now Get Legally Married at Outside Lands | KQED","description":"Couples looking to tie the knot at the popular SF music festival can add a wedding ceremony to their tickets. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"You Can Now Get Legally Married at Outside Lands","datePublished":"2024-04-30T19:15:30.000Z","dateModified":"2024-04-30T19:15:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956845","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956845/legal-weddings-married-outisde-lands-city-hall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine that you’re with your sweetie during the Postal Service’s set at \u003ca href=\"https://www.kqed.org/arts/13956373/outside-lands-lineup-2024-san-francisco\">Outside Lands\u003c/a>, and you’re \u003ca href=\"https://youtu.be/0wrsZog8qXg?si=BauxWOBgK3aEI_9k\">thinking it’s a sign that the freckles in your eyes are mirror images\u003c/a>, and when you kiss they’re perfectly aligned. If you know you want to spend forever with this person, good news: you can now get legally married at Outside Lands. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956373","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the music festival returns to San Francisco’s Golden Gate Park this August, it will feature a wedding venue called \u003ca href=\"https://sfoutsidelands.com/city-hall/city-hall/\">City Hall\u003c/a>. Ticketholders looking to tie the knot during the downtime between their favorite artists now have the option of a small ceremony with an officiant, wedding photographer and seating for guests. It comes with a $350 price tag (on top of festival tickets), and gives you access to a locker for the day, drink tickets and a wedding lounge to get glammed up.\u003c/p>\n\u003cp>It’s important to note that couples must B.Y.O.-\u003ca href=\"https://www.sf.gov/get-marriage-license\">marriage license\u003c/a>, which is easy to apply for online and can be picked up same day. Couples renewing their vows must bring a copy of their marriage certificate.\u003c/p>\n\u003cp>The addition of the wedding venue — located along McLaren Pass, between the Polo Fields and the Panhandle Stage — coincides with the \u003ca href=\"https://www.sf.gov/news/san-francisco-celebrates-winter-love-20-year-anniversary-marking-historic-milestone-same-sex\">20th anniversary of the “Winter of Love,”\u003c/a> when then-Mayor Gavin Newsom began issuing marriage licenses to San Francisco same-sex couples in 2004. Outside Lands plans to donate a portion of proceeds from these ceremonies to \u003ca href=\"https://lambdalegal.org/\">Lambda Legal\u003c/a>, an LGBTQ+ rights nonprofit.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Outside Lands takes place in San Francisco’s Golden Gate Park Aug. 9-11, featuring Tyler, the Creator, the Killers, Sturgill Simpson, Post Malone, Tyla, the Postal Service and more. \u003ca href=\"https://www.sfoutsidelands.com/\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956845/legal-weddings-married-outisde-lands-city-hall","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_2427","arts_1739"],"featImg":"arts_13933084","label":"arts"},"arts_13956808":{"type":"posts","id":"arts_13956808","meta":{"index":"posts_1591205157","site":"arts","id":"13956808","score":null,"sort":[1714474830000]},"guestAuthors":[],"slug":"fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","title":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?","publishDate":1714474830,"format":"standard","headTitle":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else? | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Gericault De La Rose — a.k.a. Bimbo Moschino — is glowing on a warm afternoon in April, twin butterflies fluttering around her in the garden behind her apartment. She’s in head-to-toe pastels, poised and Sailor Moon chic. [aside postid='arts_13952566']\u003c/p>\n\u003cp>When she first moved to Oakland from Chicago in 2021 to get her MFA at UC Berkeley, De La Rose didn’t feel this sure of herself. She didn’t have a community.\u003c/p>\n\u003cp>“I had to start over,” she says. “I literally cried every weekend.”\u003c/p>\n\u003cp>Unbeknownst to her, the revival of a queer subculture was just starting to pop off in her neighborhood. It would redefine her life in the Bay — and it was just a short walk from her front door.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One fall morning, while boredom-scrolling on Instagram in bed, she stopped on a flyer for a ballroom event at Soundwave Studios in Oakland.\u003c/p>\n\u003cp>“I was like, ‘Oh my god, Oakland has a ballroom scene?’” she remembers. “I went over by myself later that week.”\u003c/p>\n\u003cfigure id=\"attachment_13955603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s ballroom scene was where Gericault De La Rose found community. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was dark, and the music was pumping at full volume. De La Rose was wearing black tights, black short shorts, a tank top and Adidas Superstars. Her hair was long at the time, and she felt confident and elegant. The night began with the traditional “Legends, Statements, Stars” acknowledgements, which honor all the local ballroom icons who have paved the way.\u003c/p>\n\u003cp>Back then, even after years of being in the Chicago ballroom scene, De La Rose didn’t really know how to vogue. But she decided to join in anyway. That night, she got 10s from the judges for the first time in her life. [aside postid='arts_13913584']\u003c/p>\n\u003cp>De La Rose, who belongs to The Kiki House of Moschino, is part of a ballroom legacy that began in the ’70s and ’80s in New York City. Per tradition, De La Rose and her siblings compete against other houses in runway, vogue and other categories. Though ballroom has gotten mainstream attention and \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">counts Beyoncé among its fans\u003c/a>, it remains a vital way for queer and gender-nonconforming people of color come together as \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">chosen families\u003c/a> in the face of societal rejection and other forms of adversity.\u003c/p>\n\u003cp>https://www.instagram.com/p/CuHppZLRufC/?hl=en&img_index=1\u003c/p>\n\u003cp>Ballroom was the first home De La Rose found in the Bay Area. It’s also been a space where she’s been able to explore her relationship with style as a trans woman of color.\u003c/p>\n\u003cp>“It was something that I really craved,” she said. “Because yeah, there’s a lot of queer spaces in Oakland, but a lot of them are white.”\u003c/p>\n\u003cfigure id=\"attachment_13956812\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Gericault De La Rose appreciates personal style with a point of view. \u003ccite>(Martin Do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From normcore to Pokémon trainer\u003c/h2>\n\u003cp>De La Rose started medically transitioning when she was 25 years old. She says that before then, she didn’t really know what she was doing when it came to clothes.\u003c/p>\n\u003cp>“It was 100% giving Kohl’s,” she laughs. “Khakis, polo shirts — it was very normcore.”\u003c/p>\n\u003cp>But then something clicked, and an aesthetic fell into place.\u003c/p>\n\u003cp>“I was like, OK: pastels, pink,” she says. “I kind of just want to look like a Pokémon trainer, not gonna lie. Also Jules from \u003cem>Euphoria\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13956810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pastel colors are part of Gericault De La Rose’s signature look. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Rose’s quintessential silhouette is a short pleated skirt, knee-high socks, chunky sneakers and legs for days. Her proclivity for the whimsically feminine shows up in her work as a visual artist, too. For her MFA thesis show at the Berkeley Art Museum and Pacific Film Archive, De La Rose made a \u003ca href=\"https://www.instagram.com/p/CvASvGbLDhw/?hl=en&img_index=1\">chandelier\u003c/a> out of draped pastel pink, purple, yellow and blue fabric meant to “capture the splendor of transformation.”\u003c/p>\n\u003cp>“For me, being trans was not wanting to be a secret anymore,” she says. “I want to be vibrant. I want to be seen.”\u003c/p>\n\u003cp>And when De La Rose is wearing an outfit that does all that, she feels “like the baddest bitch in the world.”\u003c/p>\n\u003cp>Still, clothes shopping as a trans woman comes with its challenges.\u003c/p>\n\u003cp>“Not all clothing brands are tailored to six-foot-tall women,” she explains. “It’s really hard for me to find pants that have a feminine cut, that accentuate the hips more.”\u003c/p>\n\u003cp>So De La Rose does what queer and trans folks have always done: alter, transform and experiment, needle and thread in hand.\u003c/p>\n\u003cfigure id=\"attachment_13955720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">For Gericault De La Rose, it’s all about unique details like her safety pin ‘baby’ earring. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The category is: best dressed\u003c/h2>\n\u003cp>“The best dressed people are in the ballroom scene, no shade,” De La Rose says. “Let’s say I go to the Castro, and I go to these gay clubs. It’s giving jeans, maybe a white T-shirt and maybe a black leather jacket, copy-pasted onto everyone.”\u003c/p>\n\u003cp>De La Rose doesn’t just mean in the Bay Area: Ballroom scenes are part of LGBTQ+ communities all over the world, with some of the most influential ones in Paris and New York.\u003c/p>\n\u003cp>So what makes ballroom folks more stylish?\u003c/p>\n\u003cp>“They know their brands, and they also know how to experiment with their silhouette,” she explains. “The spectrum of masculinity to femininity is all explored.”\u003c/p>\n\u003cp>In a world of binary clothes, ballroom folks have dreamt up looks that aren’t just new and custom. They can also compete.\u003c/p>\n\u003cp>“Everything is intentional,” she says. “Because the minute you step into ballroom, the competition starts.” [aside postid='arts_13951605']\u003c/p>\n\u003cp>That innovation at a high level is what sets ballroom apart. And you know it when you see it, says De La Rose. To get her point across, she pulls up a \u003ca href=\"https://www.instagram.com/p/Cs1SLGVRkoX/?hl=en&img_index=2\">photo of her ballroom mentor, Soho,\u003c/a> after a recent Oakland to All ball.\u003c/p>\n\u003cp>He’s in a look to turns heads: long, lime green leather gloves, a white tee printed with a pointy-eared Doberman, a midi cargo skirt and a crocheted, lime green balaclava with dozens of knitted tentacles cascading from chin to chest with the caption, “Urban Streetwear w/ a touch of Futurama Cunt 👽🛸.”\u003c/p>\n\u003cp>The outfit is stunning, daring and tells an otherworldly story. It’s a feast in texture alone. It’s the anti-copy paste. And it’s exactly what De La Rose is talking about.\u003c/p>\n\u003cp>De La Rose pulls up another photo, this one of her ballroom brother, Clover, in a look that masters layering and proportions.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Creativity,” she says, zooming in. “Like, hello! You see what I mean?”\u003c/p>\n\n","blocks":[],"excerpt":"Performer Bimbo Moschino offers her take on who’s giving normcore and who’s setting the standard.","status":"publish","parent":0,"modified":1714440813,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1227},"headData":{"title":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else? | KQED","description":"Performer Bimbo Moschino offers her take on who’s giving normcore and who’s setting the standard.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?","datePublished":"2024-04-30T11:00:30.000Z","dateModified":"2024-04-30T01:33:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956808/fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Gericault De La Rose — a.k.a. Bimbo Moschino — is glowing on a warm afternoon in April, twin butterflies fluttering around her in the garden behind her apartment. She’s in head-to-toe pastels, poised and Sailor Moon chic. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952566","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she first moved to Oakland from Chicago in 2021 to get her MFA at UC Berkeley, De La Rose didn’t feel this sure of herself. She didn’t have a community.\u003c/p>\n\u003cp>“I had to start over,” she says. “I literally cried every weekend.”\u003c/p>\n\u003cp>Unbeknownst to her, the revival of a queer subculture was just starting to pop off in her neighborhood. It would redefine her life in the Bay — and it was just a short walk from her front door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One fall morning, while boredom-scrolling on Instagram in bed, she stopped on a flyer for a ballroom event at Soundwave Studios in Oakland.\u003c/p>\n\u003cp>“I was like, ‘Oh my god, Oakland has a ballroom scene?’” she remembers. “I went over by myself later that week.”\u003c/p>\n\u003cfigure id=\"attachment_13955603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s ballroom scene was where Gericault De La Rose found community. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was dark, and the music was pumping at full volume. De La Rose was wearing black tights, black short shorts, a tank top and Adidas Superstars. Her hair was long at the time, and she felt confident and elegant. The night began with the traditional “Legends, Statements, Stars” acknowledgements, which honor all the local ballroom icons who have paved the way.\u003c/p>\n\u003cp>Back then, even after years of being in the Chicago ballroom scene, De La Rose didn’t really know how to vogue. But she decided to join in anyway. That night, she got 10s from the judges for the first time in her life. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913584","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De La Rose, who belongs to The Kiki House of Moschino, is part of a ballroom legacy that began in the ’70s and ’80s in New York City. Per tradition, De La Rose and her siblings compete against other houses in runway, vogue and other categories. Though ballroom has gotten mainstream attention and \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">counts Beyoncé among its fans\u003c/a>, it remains a vital way for queer and gender-nonconforming people of color come together as \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">chosen families\u003c/a> in the face of societal rejection and other forms of adversity.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CuHppZLRufC"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ballroom was the first home De La Rose found in the Bay Area. It’s also been a space where she’s been able to explore her relationship with style as a trans woman of color.\u003c/p>\n\u003cp>“It was something that I really craved,” she said. “Because yeah, there’s a lot of queer spaces in Oakland, but a lot of them are white.”\u003c/p>\n\u003cfigure id=\"attachment_13956812\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Gericault De La Rose appreciates personal style with a point of view. \u003ccite>(Martin Do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From normcore to Pokémon trainer\u003c/h2>\n\u003cp>De La Rose started medically transitioning when she was 25 years old. She says that before then, she didn’t really know what she was doing when it came to clothes.\u003c/p>\n\u003cp>“It was 100% giving Kohl’s,” she laughs. “Khakis, polo shirts — it was very normcore.”\u003c/p>\n\u003cp>But then something clicked, and an aesthetic fell into place.\u003c/p>\n\u003cp>“I was like, OK: pastels, pink,” she says. “I kind of just want to look like a Pokémon trainer, not gonna lie. Also Jules from \u003cem>Euphoria\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13956810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pastel colors are part of Gericault De La Rose’s signature look. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Rose’s quintessential silhouette is a short pleated skirt, knee-high socks, chunky sneakers and legs for days. Her proclivity for the whimsically feminine shows up in her work as a visual artist, too. For her MFA thesis show at the Berkeley Art Museum and Pacific Film Archive, De La Rose made a \u003ca href=\"https://www.instagram.com/p/CvASvGbLDhw/?hl=en&img_index=1\">chandelier\u003c/a> out of draped pastel pink, purple, yellow and blue fabric meant to “capture the splendor of transformation.”\u003c/p>\n\u003cp>“For me, being trans was not wanting to be a secret anymore,” she says. “I want to be vibrant. I want to be seen.”\u003c/p>\n\u003cp>And when De La Rose is wearing an outfit that does all that, she feels “like the baddest bitch in the world.”\u003c/p>\n\u003cp>Still, clothes shopping as a trans woman comes with its challenges.\u003c/p>\n\u003cp>“Not all clothing brands are tailored to six-foot-tall women,” she explains. “It’s really hard for me to find pants that have a feminine cut, that accentuate the hips more.”\u003c/p>\n\u003cp>So De La Rose does what queer and trans folks have always done: alter, transform and experiment, needle and thread in hand.\u003c/p>\n\u003cfigure id=\"attachment_13955720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">For Gericault De La Rose, it’s all about unique details like her safety pin ‘baby’ earring. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The category is: best dressed\u003c/h2>\n\u003cp>“The best dressed people are in the ballroom scene, no shade,” De La Rose says. “Let’s say I go to the Castro, and I go to these gay clubs. It’s giving jeans, maybe a white T-shirt and maybe a black leather jacket, copy-pasted onto everyone.”\u003c/p>\n\u003cp>De La Rose doesn’t just mean in the Bay Area: Ballroom scenes are part of LGBTQ+ communities all over the world, with some of the most influential ones in Paris and New York.\u003c/p>\n\u003cp>So what makes ballroom folks more stylish?\u003c/p>\n\u003cp>“They know their brands, and they also know how to experiment with their silhouette,” she explains. “The spectrum of masculinity to femininity is all explored.”\u003c/p>\n\u003cp>In a world of binary clothes, ballroom folks have dreamt up looks that aren’t just new and custom. They can also compete.\u003c/p>\n\u003cp>“Everything is intentional,” she says. “Because the minute you step into ballroom, the competition starts.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951605","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That innovation at a high level is what sets ballroom apart. And you know it when you see it, says De La Rose. To get her point across, she pulls up a \u003ca href=\"https://www.instagram.com/p/Cs1SLGVRkoX/?hl=en&img_index=2\">photo of her ballroom mentor, Soho,\u003c/a> after a recent Oakland to All ball.\u003c/p>\n\u003cp>He’s in a look to turns heads: long, lime green leather gloves, a white tee printed with a pointy-eared Doberman, a midi cargo skirt and a crocheted, lime green balaclava with dozens of knitted tentacles cascading from chin to chest with the caption, “Urban Streetwear w/ a touch of Futurama Cunt 👽🛸.”\u003c/p>\n\u003cp>The outfit is stunning, daring and tells an otherworldly story. It’s a feast in texture alone. It’s the anti-copy paste. And it’s exactly what De La Rose is talking about.\u003c/p>\n\u003cp>De La Rose pulls up another photo, this one of her ballroom brother, Clover, in a look that masters layering and proportions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Creativity,” she says, zooming in. “Like, hello! You see what I mean?”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956808/fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","authors":["11872"],"categories":["arts_1","arts_966","arts_76","arts_235"],"tags":["arts_1696","arts_10278","arts_10422","arts_21953","arts_3226"],"featImg":"arts_13955604","label":"arts"},"arts_13956554":{"type":"posts","id":"arts_13956554","meta":{"index":"posts_1591205157","site":"arts","id":"13956554","score":null,"sort":[1713993863000]},"guestAuthors":[],"slug":"loco-bloco-mission-district-carnaval-jediah-pratt","title":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission","publishDate":1713993863,"format":"standard","headTitle":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The booming sounds can be heard in the Mission District all the way down the block. From inside a brightly painted building on 24th Street, upstairs at the Brava Theater Center, 20 drummers pound out a rhythm for nearly three dozen dancers, shaking the floor as they move. \u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg\" alt=\"\" width=\"160\" height=\"190\" class=\"alignright size-thumbnail wp-image-13956328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is a typical weeknight rehearsal for \u003ca href=\"https://www.locoblocosf.org/\">Loco Bloco\u003c/a>, whose performers are currently working for hours on end to master intricate choreography and complex drum patterns for their performance at San Francisco’s massive \u003ca href=\"https://carnavalsanfrancisco.org/\">Carnaval celebration\u003c/a> in May. \u003c/p>\n\u003cp>A donations-based organization offering free dance and music classes to young people, Loco Bloco primarily serves the Latin and Afro-Latino communities in the Bay Area. Since its founding in 1994, Loco Bloco has influenced countless young participants, giving them a sense of community, stability and core values.\u003c/p>\n\u003cfigure id=\"attachment_13956568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antonio ‘Tico’ Dos Santos leads a Loco Bloco drum lesson at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prime example of this is 15-year-old dancer Jediah Pratt, who began dancing with Loco Bloco when she was just 6 years old. When asked about the benefits of the program, she emphasizes the group’s tight-knit bond, and how much it means to her and her family since moving out of San Francisco with its rising costs. Now living an hour away, she says the program has kept her connected to the city where her family lived for generations. \u003c/p>\n\u003cfigure id=\"attachment_13956565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt (center right), 15, practices with a Loco Bloco dance group lead by artistic director Mayela Carrasco at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jediah’s family has a long history with Loco Bloco. Her mother Ramona was introduced to the program by one of its founders, Jose Carrasco, when she was 11, and would watch rehearsals from the sidelines after school before joining in herself as a drummer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many years later, when Jediah was just 5, she saw the group perform — feathers, floats, colors and all — and begged her mom to join. In first grade, her wish came true, and she dutifully showed up to rehearsals, rain or shine. (Once, when a family member died, she remembers wanting to go to Loco Bloco rehearsal instead of their funeral.)\u003c/p>\n\u003cfigure id=\"attachment_13956564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, stands outside Brava Theater in San Francisco on April 22, 2024, before dance practice with the group Loco Bloco to prepare for Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s grown up with Loco Bloco, which I think is a beautiful thing,” says Ramona of her daughter. “I’ve asked over and over again, ‘Is this what you really want to do? Because you’re really good at it.’” \u003c/p>\n\u003cp>Three years ago, the closeness and familial bond of the program gave Jediah and her family a sense of stability after moving to Concord due to high costs and inflation. It was a difficult time, and her new home and school were vastly different from San Francisco. Yet Jediah and her three siblings still attended Loco Bloco every Monday and Wednesday. \u003c/p>\n\u003cfigure id=\"attachment_13956569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco managing director Jose Carrasco leads a drum group during practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jediah is really the best,” said Jose Carrasco, now Loco Bloco’s managing director. “She has really developed into a beautiful artist, and through the years I’ve watched her blossom.” Jediah helps out with the younger kids and their stilts lessons, Carrasco is quick to point out, while Ramona spends her time drumming and volunteering for the program. \u003c/p>\n\u003cp>Two years ago, Jediah’s family moved to Fairfield, an hour away from San Francisco without traffic, where her routine and environment changed once again. She began high school in Fairfield this year, which she described as rough. She didn’t know anybody at first, and went to a school with thousands of kids and “fights every day on the schoolyard.” \u003c/p>\n\u003cfigure id=\"attachment_13956567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, talks with friends during Loco Bloco dance practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, every Monday and Wednesday at 5 p.m., Ramona drives the family down I-80 and through the city’s traffic to Loco Bloco, where Jediah and her siblings dance and drum for hours. They don’t get back home until 11 p.m. While it may sound strenuous, when asked about it, Jediah says, “I feel like everybody is kind of like family. Everyone knows everyone, and we’re always there for each other, looking out for each other.” \u003c/p>\n\u003cp>For this year’s Carnaval, Jediah is one of just two teens dancing with the adults. Though the rehearsals and dances are difficult, the hardest part of preparing for Carnaval is the costumes, she says. Each year the dancers are given costumes to decorate with rhinestones or other accouterments and make their own. Jediah recalls staying up until one a.m. the night before last year’s Carnaval, trying to finish her outfit and falling asleep with the hot glue gun in hand.\u003c/p>\n\u003cfigure id=\"attachment_13956563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, helps stilt walkers for the group Loco Bloco practice outside Brava Theater in San Francisco on April 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jediah continues to navigate the challenges of adjusting to a new environment and the demands of high school life, her dedication to Loco Bloco remains a testament to the power of community and art. Through Loco Bloco, she not only hones her skills as an artist but also cultivates resilience, perseverance, and a sense of belonging.\u003c/p>\n\u003cp>At the upcoming Carnaval performance, there’ll be drums, dancing and colorful costumes — and for Jediah, there’ll also be the enduring impact of cultural expression and the bonds forged through shared experiences.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Loco Bloco performs as part of this year’s San Francisco’s Carnaval, running May 25–26 in the Mission District. \u003ca href=\"https://carnavalsanfrancisco.org/\">Details here\u003c/a>. \u003c/em> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Binnie Kenvin is a Junior at University High School. She is passionate about screenwriting, dancing and playing bass, and loves to hang out with her three dogs. In the future she hopes to be a screenwriter. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"As rehearsals heat up for this year's Carnaval, one 15-year-old dancer calls Loco Bloco 'like family.' ","status":"publish","parent":0,"modified":1714494942,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1122},"headData":{"title":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission | KQED","description":"As rehearsals heat up for this year's Carnaval, one 15-year-old dancer calls Loco Bloco 'like family.' ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission","datePublished":"2024-04-24T21:24:23.000Z","dateModified":"2024-04-30T16:35:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"the-drumbeat-of-home-how-loco-bloco-keeps-one-family-tethered-to-the-mission","nprByline":"Binnie Kenvin","nprStoryId":"kqed-13956554","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956554/loco-bloco-mission-district-carnaval-jediah-pratt","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The booming sounds can be heard in the Mission District all the way down the block. From inside a brightly painted building on 24th Street, upstairs at the Brava Theater Center, 20 drummers pound out a rhythm for nearly three dozen dancers, shaking the floor as they move. \u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg\" alt=\"\" width=\"160\" height=\"190\" class=\"alignright size-thumbnail wp-image-13956328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is a typical weeknight rehearsal for \u003ca href=\"https://www.locoblocosf.org/\">Loco Bloco\u003c/a>, whose performers are currently working for hours on end to master intricate choreography and complex drum patterns for their performance at San Francisco’s massive \u003ca href=\"https://carnavalsanfrancisco.org/\">Carnaval celebration\u003c/a> in May. \u003c/p>\n\u003cp>A donations-based organization offering free dance and music classes to young people, Loco Bloco primarily serves the Latin and Afro-Latino communities in the Bay Area. Since its founding in 1994, Loco Bloco has influenced countless young participants, giving them a sense of community, stability and core values.\u003c/p>\n\u003cfigure id=\"attachment_13956568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antonio ‘Tico’ Dos Santos leads a Loco Bloco drum lesson at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prime example of this is 15-year-old dancer Jediah Pratt, who began dancing with Loco Bloco when she was just 6 years old. When asked about the benefits of the program, she emphasizes the group’s tight-knit bond, and how much it means to her and her family since moving out of San Francisco with its rising costs. Now living an hour away, she says the program has kept her connected to the city where her family lived for generations. \u003c/p>\n\u003cfigure id=\"attachment_13956565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt (center right), 15, practices with a Loco Bloco dance group lead by artistic director Mayela Carrasco at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jediah’s family has a long history with Loco Bloco. Her mother Ramona was introduced to the program by one of its founders, Jose Carrasco, when she was 11, and would watch rehearsals from the sidelines after school before joining in herself as a drummer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many years later, when Jediah was just 5, she saw the group perform — feathers, floats, colors and all — and begged her mom to join. In first grade, her wish came true, and she dutifully showed up to rehearsals, rain or shine. (Once, when a family member died, she remembers wanting to go to Loco Bloco rehearsal instead of their funeral.)\u003c/p>\n\u003cfigure id=\"attachment_13956564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, stands outside Brava Theater in San Francisco on April 22, 2024, before dance practice with the group Loco Bloco to prepare for Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s grown up with Loco Bloco, which I think is a beautiful thing,” says Ramona of her daughter. “I’ve asked over and over again, ‘Is this what you really want to do? Because you’re really good at it.’” \u003c/p>\n\u003cp>Three years ago, the closeness and familial bond of the program gave Jediah and her family a sense of stability after moving to Concord due to high costs and inflation. It was a difficult time, and her new home and school were vastly different from San Francisco. Yet Jediah and her three siblings still attended Loco Bloco every Monday and Wednesday. \u003c/p>\n\u003cfigure id=\"attachment_13956569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco managing director Jose Carrasco leads a drum group during practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jediah is really the best,” said Jose Carrasco, now Loco Bloco’s managing director. “She has really developed into a beautiful artist, and through the years I’ve watched her blossom.” Jediah helps out with the younger kids and their stilts lessons, Carrasco is quick to point out, while Ramona spends her time drumming and volunteering for the program. \u003c/p>\n\u003cp>Two years ago, Jediah’s family moved to Fairfield, an hour away from San Francisco without traffic, where her routine and environment changed once again. She began high school in Fairfield this year, which she described as rough. She didn’t know anybody at first, and went to a school with thousands of kids and “fights every day on the schoolyard.” \u003c/p>\n\u003cfigure id=\"attachment_13956567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, talks with friends during Loco Bloco dance practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, every Monday and Wednesday at 5 p.m., Ramona drives the family down I-80 and through the city’s traffic to Loco Bloco, where Jediah and her siblings dance and drum for hours. They don’t get back home until 11 p.m. While it may sound strenuous, when asked about it, Jediah says, “I feel like everybody is kind of like family. Everyone knows everyone, and we’re always there for each other, looking out for each other.” \u003c/p>\n\u003cp>For this year’s Carnaval, Jediah is one of just two teens dancing with the adults. Though the rehearsals and dances are difficult, the hardest part of preparing for Carnaval is the costumes, she says. Each year the dancers are given costumes to decorate with rhinestones or other accouterments and make their own. Jediah recalls staying up until one a.m. the night before last year’s Carnaval, trying to finish her outfit and falling asleep with the hot glue gun in hand.\u003c/p>\n\u003cfigure id=\"attachment_13956563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, helps stilt walkers for the group Loco Bloco practice outside Brava Theater in San Francisco on April 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jediah continues to navigate the challenges of adjusting to a new environment and the demands of high school life, her dedication to Loco Bloco remains a testament to the power of community and art. Through Loco Bloco, she not only hones her skills as an artist but also cultivates resilience, perseverance, and a sense of belonging.\u003c/p>\n\u003cp>At the upcoming Carnaval performance, there’ll be drums, dancing and colorful costumes — and for Jediah, there’ll also be the enduring impact of cultural expression and the bonds forged through shared experiences.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Loco Bloco performs as part of this year’s San Francisco’s Carnaval, running May 25–26 in the Mission District. \u003ca href=\"https://carnavalsanfrancisco.org/\">Details here\u003c/a>. \u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Binnie Kenvin is a Junior at University High School. She is passionate about screenwriting, dancing and playing bass, and loves to hang out with her three dogs. In the future she hopes to be a screenwriter. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956554/loco-bloco-mission-district-carnaval-jediah-pratt","authors":["byline_arts_13956554"],"categories":["arts_1","arts_835","arts_966","arts_76","arts_11615","arts_69","arts_235"],"tags":["arts_10342","arts_10278","arts_1257","arts_1146","arts_4533"],"featImg":"arts_13956570","label":"arts"},"arts_13956575":{"type":"posts","id":"arts_13956575","meta":{"index":"posts_1591205157","site":"arts","id":"13956575","score":null,"sort":[1713983603000]},"guestAuthors":[],"slug":"sfmoma-workers-open-letter-palestinians-gaza-pacbi","title":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","publishDate":1713983603,"format":"standard","headTitle":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. [aside postid='arts_13955613,arts_13954119']\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n","blocks":[],"excerpt":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","status":"publish","parent":0,"modified":1714494975,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":642},"headData":{"title":"SFMOMA Workers Urge Museum to Support Palestinians in Letter | KQED","description":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"SFMOMA Workers Urge Museum to Support Palestinians in Letter %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","datePublished":"2024-04-24T18:33:23.000Z","dateModified":"2024-04-30T16:36:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956575","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955613,arts_13954119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","authors":["11387"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_10342","arts_10278","arts_10422","arts_8838","arts_1381"],"featImg":"arts_13956649","label":"arts"}},"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? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. 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Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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