Running the Record Plant, Part 1: The Early Years | KQED
upper waypoint The Record Plant in 2016. (Photo: Richie Unterberger)
Running the Record Plant, Part 1: The Early Years Running the Record Plant, Part 1: The Early Years
Nov 21, 2016
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Hot tubs, water beds, sex, and drugs — all were staples of the Record Plant in Sausalito, home to some of the highest times of any Bay Area studio in the 1970s.
Yet there was no small amount of rock and roll too. The dozens of famous albums partially or fully recorded at the Plant in the ’70s include Sly Stone’s Fresh , Stevie Wonder’s Songs in the Key of Life and Prince’s debut album For You . The Plant continued its reign as one of the top studios in the Bay Area into the early 21st century, through several ownership changes that, at one point, saw the federal government running the facility.
That wasn’t the sort of atmosphere its founders had in mind when the Record Plant opened in late 1972. After establishing himself as a top recording engineer with the likes of Jimi Hendrix and Frank Zappa, Gary Kellgren opened successful branches of the Plant in New York and Los Angeles with business partner Chris Stone before the two set their sights on Sausalito. As Raechel Donahue (who coordinated KSAN’s live-in-the-studio concerts from the Plant) puts it, “They invented this idea of having a recording studio that gave everybody a comfortable place to be.”
“Basically, it was a party atmosphere to record in,” says Jim Gaines, who produced and engineered records by the likes of Santana, Journey and Huey Lewis at the Plant. “They built this studio up here to go for the Bay Area bands. But not only that, bring up people from L.A. that wanted to get out of L.A. They had a hot tub in it, they had a boat at one point in time [to] take people out. The house”— where members of bands like Fleetwood Mac would stay during their Plant sessions — “was part of the package deal. And Kellgren was a party kind of guy.”
Indeed, when Gaines interviewed with Kellgren for a job at the Plant, “I’m shaking hands with this guy in this purple or blue Napoleon outfit. He’s got the hat on and everything. I’m thinking, ‘Do I want to work for this guy? Good lord.’ It was all about a big party for him, as well as working. He seemed to put those two together. That’s why the studio was built.”
Gaines turned down the job in favor of staying at Wally Heider’s studio in downtown San Francisco, adding that “when Heider found out that they were coming into Sausalito, he went out and found a building. He had plans to build a studio in Mill Valley to counteract ‘em.” Notes engineer and producer Stephen Barncard, who, like Gaines, also worked sessions at both Heider’s and the Plant, “Wally had plans for a studio in Mill Valley near Tam Junction. I actually saw the plans. He was gonna get [TV and film production company] Filmways to pay for it, and when the Record Plant went in, it was over. It never happened.”
As just one example of the detail lavished upon the facility, recalls Gaines, “the ceiling in Studio B looked like clouds. They were made out of cut-out plywood in different forms, and covered with velveteen or velvet or something like that; they looked like clouds hanging up there. Kellgren was smart; he wanted his rooms to look different. He knew he wanted to make it artsy.”
Jim Gaines at the board during a recording session at the Record Plant in the 1980s. (Photo: Courtesy of Jim Gaines)
Word about the Record Plant got out through its lavish opening party, as well as KSAN broadcasts of live-in-the-studio programs featuring such heavyweights as Bob Marley & the Wailers (part of whose October 1973 performance at the Plant was issued on the Talkin’ Blues CD), Bonnie Raitt, Linda Ronstadt and Fleetwood Mac.
“At this time it wasn’t really common to do live broadcasts, especially from a recording studio,” explains Raechel Donahue. “When we were at KSAN, our version of a live broadcast was me and [DJ] Terry McGovern and a 100-foot microphone cord which I would feed out the window to him, so he could interview people on the street. It really was [KSAN manager] Tom [Donahue], Chris Stone, and Gary Kellgren who figured out, ‘Ah, there’s obviously a way to do this if we could only just figure this out.’”
KSAN kicked off its Record Plant broadcasts with a legendary 72-hour marathon. At one point during Kris Kristofferson’s performance, according to Raechel Donahue, “this wackadoodle guy came wandering through the studio singing ‘He’s a peach pit, he’s a pom pom, he’s a pervert, he’s a fool’” — bastardizing the lyric of one of Kristofferson’s most famous songs, “The Pilgrim, Chapter 33” — “and then just walked out the other door.”
The Record Plant’s control room, circa 1973. (Photo: Steve Barncard)
“Everyone who was anyone was there, and they wandered in and wandered out,” Donahue said. “All I had to do was figure how to coordinate that. But that’s kind of what KSAN was all about, figuring out how to make reality blend into music. It was a crazy thing to do, but it did start the whole Record Plant live thing.”
It wasn’t the only craziness at KSAN broadcasts; Bob Simmons, the announcer for some of them, recalls Last Tango in Paris star Maria Schneider “wandering around trying to get someone to get in the hot tub with her” during one.
The Plant soon attracted not only stars from L.A. and out of state, but also quite a few from the Bay Area itself. The setting was as vital to its appeal as the studio itself. “Heider’s was downtown in the Tenderloin,” says Gaines. “That’s a whole different concept down there. I mean, just to park your car and get to the studio without being mugged is a feat. The Record Plant, you could just walk out, and you’re only like one door from the water. Then you got some public tennis courts down the streets. When I was working with KBC Band — Marty Balin and [Jack] Casady and Paul Kantner — Marty would go down there and play tennis while we weren’t working.”
Stephen Barncard during his days at the Record Plant. (Photo: Courtesy of Stephen Barncard)
The studio’s most famous feature, however, was on the premises, and more notorious for its, shall we say, extracurricular activities. The sunken area known as the Pit was, in Barncard’s words, “partial boudoir and studio. It’s basically for a place to do track-by-track overdubs and vocals, and then make love to your girlfriend between, in breaks over in the side.”
“Sly Stone moved into that back room for a while,” reports Gaines. “They had a little bedroom for him. Just a bed, with little frilly stuff over it. He wanted all of the doorknobs moved up. It’s like he was a kid or something. The doorknob couldn’t be in a regular place, it had to be like a foot higher. I finally changed that. I said, ‘Man, I can’t deal with this.’ There’s a lot more [stories], but I don’t know if I could tell some of ‘em.’”
More stories about the Pit, the Plant, the Earthquake, and federal marshals taking over the studio are coming soon in Part Two.
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When he isn't writing or editing, you'll find him eating most everything he can get his hands on.","avatar":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twitter":"theluketsai","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]}],"headData":{"title":"Luke Tsai | KQED","description":"Food Editor","ogImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ltsai"},"bloewinsohn":{"type":"authors","id":"11904","meta":{"index":"authors_1716337520","id":"11904","found":true},"name":"Briana Loewinsohn","firstName":"Briana","lastName":"Loewinsohn","slug":"bloewinsohn","email":"brianabreaks@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":null,"avatar":"https://secure.gravatar.com/avatar/3d271841017c9b3e8fd8bf5552758c08?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Briana Loewinsohn | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/3d271841017c9b3e8fd8bf5552758c08?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/3d271841017c9b3e8fd8bf5552758c08?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/bloewinsohn"},"runterberger":{"type":"authors","id":"11302","meta":{"index":"authors_1716337520","id":"11302","found":true},"name":"Richie Unterberger","firstName":"Richie","lastName":"Unterberger","slug":"runterberger","email":"richie@richieunterberger.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Richie Unterberger has written a dozen rock history books, including volumes on the Velvet Underground, the Who, and the Beatles. He teaches community education rock history courses at the College of Marin and the Fromm Institute in San Francisco. Read more of his work at www.richieunterberger.com/wordpress.","avatar":"https://secure.gravatar.com/avatar/a39c81cd6643bc782cfa0bf46a2a5a4c?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Richie Unterberger | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/a39c81cd6643bc782cfa0bf46a2a5a4c?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/a39c81cd6643bc782cfa0bf46a2a5a4c?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/runterberger"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13958101":{"type":"posts","id":"arts_13958101","meta":{"index":"posts_1716263798","site":"arts","id":"13958101","found":true},"guestAuthors":[],"slug":"naked-ambition-documentary-review-bunny-yeager-bettie-page-photography","title":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","publishDate":1716906542,"format":"standard","headTitle":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s taken the better part of 60 years, but the bold women who helped kickstart America’s sexual revolution seem to finally be getting their due on film.\u003c/p>\n\u003cp>[aside postid='arts_13953248']Earlier this year, San Francisco’s own Carol Doda was honored with \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">\u003cem>Topless at the Condor\u003c/em>\u003c/a>, a documentary recounting the dancer’s fame as North Beach’s first topless performer and the hardships she faced after her heyday. Now comes \u003ca href=\"https://www.imdb.com/title/tt10445326/\">\u003cem>Naked Ambition\u003c/em>\u003c/a>, a film that captures the life story of Bunny Yeager, a photographer and model who created some of the most iconic pin-up images of the 1950s and ’60s.\u003c/p>\n\u003cp>\u003cem>Naked Ambition\u003c/em> is careful to pay tribute to what made Yeager so special. Though attention early in her career came from being dubbed the “world’s prettiest photographer,” the documentary explains in detail just why her work was so special at the time and why it continues to endure now. The film also demonstrates the ways in which her photographs and stylistic choices have impacted popular culture in the decades since.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iwy83i5XDx8\u003c/p>\n\u003cp>As seen in Dennis Scholl and Kareem Tausch’s film, Yeager didn’t merely shoot images that titillated, she made sure that each of her models’ personalities had space to shine through. Her ability to put women at ease and to present their nudity in joyful, celebratory ways was born from her own experiences as a model in the 1940s. It was Yeager’s inherent humor and playfulness that transformed Bettie Page from an underground fetish model to the leopard-print-clad icon she is most commonly thought of today. Yeager’s own work with self-portraits also broke new ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s so important that she was a bombshell pin-up girl,” burlesque star Dita Von Teese notes in the film. “It really made all the difference in how she photographed other people.”\u003c/p>\n\u003cp>One of the most fascinating elements of \u003cem>Naked Ambition\u003c/em> is the way in which Yeager managed to walk a line between sexually liberated creative and 1950s domestic goddess. Though dedicated to her two daughters and to building a suburban home in Miami, Yeager also had zero qualms about taking photos of women in various states of undress for publications like \u003cem>Playboy\u003c/em>. (Yeager was one of the magazine’s first regular contributors and first female photographers. She counted Hugh Hefner as a close personal friend.)\u003c/p>\n\u003cp>Interviewees in the documentary include cultural commentators, Yeager’s friends and family members, individuals tasked with safeguarding Yeager’s legacy, and models with fond memories of working with the photographer, including \u003ca href=\"https://www.legacy.com/us/obituaries/herald/name/marcia-ludwig-obituary?id=33129914\">Marcia Valibus\u003c/a> and \u003ca href=\"https://www.maikaihistory.com/2016/08/07/nani-maka-tropical-maiden/\">Nani Maka\u003c/a>. There is also wonderful archival footage of Yeager at work, as well as some words between her and Bettie Page recorded in a 1993 conversation for \u003cem>Interview\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13958173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bunny_self_portrait_four_copy-e1716246569243.jpg\" alt=\"A beautiful 1950s-era woman wearing a low cut top, looks down towards her camera.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">When her career behind the camera began in the 1950s, Bunny Yeager was dubbed the ‘world’s prettiest photographer.’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with many women who make their names working in the sex industry, Yeager’s later life came with some extra challenges. The photographer struggled financially because her tone and aesthetics fell out of favor in the 1970s, as porn hit the mainstream. (“The Yeager photographic style does not parallel the contemporary mood and image of \u003cem>Penthouse\u003c/em> magazine,” one stinging rejection letter reads.) Only with the 1990s rise of rockabilly and swing did Yeager’s work find a new generation of fans. During the lull before, she made ends meet with work in graphic design and even as a nightclub singer.\u003c/p>\n\u003cp>Yeager’s personal life was also impacted by her career. One of her daughters, Cherilu Irwin, remains ashamed of her mother’s catalog of work, speaking openly of her disapproval in \u003cem>Naked Ambition\u003c/em>. When asked what she thinks her mother’s legacy is, Irwin leaves a long pause before openly wishing Yeager had not followed the career path she followed. Irwin’s longing to disassociate from her mom’s work has also clearly been a source of tension between her and her sister Lisa, who, in contrast, feels very proud of Yeager’s accomplishments.\u003c/p>\n\u003cp>[aside postid='arts_13954358']\u003cem>Naked Ambition\u003c/em> isn’t all perfect. One gets the sense that darker elements of Yeager’s story are glossed over for the sake of a more upbeat veneer. There is no commentary about the fact that her husband Bud Irwin was fired from the police force after being charged with falsifying burglary reports. There is little mention of the toll that his suicide in 1977 took on her. The fact that one of her best friends — and favorite models — \u003ca href=\"https://www.themoviedb.org/person/1790519-maria-stinger?language=en-US\">Maria Stinger\u003c/a> died by suicide in 1967 isn’t even touched on, despite the fact that Yeager’s working relationship with Stinger is prominently featured.\u003c/p>\n\u003cp>Overall, \u003cem>Naked Ambition\u003c/em> is an entertaining snapshot of a resourceful and endlessly creative woman who was determined to live life on her own terms. It works fabulously as an introduction to an often-forgotten talent. It’s just a shame that, now and again, it leaves a little too much to the imagination.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2024-naked-ambition-steph-and-the-customers/\">‘Naked Ambition’ screens at San Francisco’s Roxie Cinema\u003c/a> as part of SF DocFest, on May 31, 2024 at 6:30 p.m.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A documentary honors the model-turned-photographer who created some of America’s most iconic pin-up images.","status":"publish","parent":0,"modified":1716572614,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":912},"headData":{"title":"‘Naked Ambition’ Review: Bunny Yeager's Photo Legacy Lives on | KQED","description":"A documentary honors the model-turned-photographer who created some of America’s most iconic pin-up images.","ogTitle":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","ogDescription":"","ogImgId":"","twTitle":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","twDescription":"","twImgId":"","socialTitle":"‘Naked Ambition’ Review: Bunny Yeager's Photo Legacy Lives on %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience","datePublished":"2024-05-28T07:29:02-07:00","dateModified":"2024-05-24T10:43:34-07:00","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/13958101/naked-ambition-documentary-review-bunny-yeager-bettie-page-photography","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s taken the better part of 60 years, but the bold women who helped kickstart America’s sexual revolution seem to finally be getting their due on film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953248","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Earlier this year, San Francisco’s own Carol Doda was honored with \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">\u003cem>Topless at the Condor\u003c/em>\u003c/a>, a documentary recounting the dancer’s fame as North Beach’s first topless performer and the hardships she faced after her heyday. Now comes \u003ca href=\"https://www.imdb.com/title/tt10445326/\">\u003cem>Naked Ambition\u003c/em>\u003c/a>, a film that captures the life story of Bunny Yeager, a photographer and model who created some of the most iconic pin-up images of the 1950s and ’60s.\u003c/p>\n\u003cp>\u003cem>Naked Ambition\u003c/em> is careful to pay tribute to what made Yeager so special. Though attention early in her career came from being dubbed the “world’s prettiest photographer,” the documentary explains in detail just why her work was so special at the time and why it continues to endure now. The film also demonstrates the ways in which her photographs and stylistic choices have impacted popular culture in the decades since.\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/Iwy83i5XDx8'\n title='//www.youtube.com/embed/Iwy83i5XDx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As seen in Dennis Scholl and Kareem Tausch’s film, Yeager didn’t merely shoot images that titillated, she made sure that each of her models’ personalities had space to shine through. Her ability to put women at ease and to present their nudity in joyful, celebratory ways was born from her own experiences as a model in the 1940s. It was Yeager’s inherent humor and playfulness that transformed Bettie Page from an underground fetish model to the leopard-print-clad icon she is most commonly thought of today. Yeager’s own work with self-portraits also broke new ground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s so important that she was a bombshell pin-up girl,” burlesque star Dita Von Teese notes in the film. “It really made all the difference in how she photographed other people.”\u003c/p>\n\u003cp>One of the most fascinating elements of \u003cem>Naked Ambition\u003c/em> is the way in which Yeager managed to walk a line between sexually liberated creative and 1950s domestic goddess. Though dedicated to her two daughters and to building a suburban home in Miami, Yeager also had zero qualms about taking photos of women in various states of undress for publications like \u003cem>Playboy\u003c/em>. (Yeager was one of the magazine’s first regular contributors and first female photographers. She counted Hugh Hefner as a close personal friend.)\u003c/p>\n\u003cp>Interviewees in the documentary include cultural commentators, Yeager’s friends and family members, individuals tasked with safeguarding Yeager’s legacy, and models with fond memories of working with the photographer, including \u003ca href=\"https://www.legacy.com/us/obituaries/herald/name/marcia-ludwig-obituary?id=33129914\">Marcia Valibus\u003c/a> and \u003ca href=\"https://www.maikaihistory.com/2016/08/07/nani-maka-tropical-maiden/\">Nani Maka\u003c/a>. There is also wonderful archival footage of Yeager at work, as well as some words between her and Bettie Page recorded in a 1993 conversation for \u003cem>Interview\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13958173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bunny_self_portrait_four_copy-e1716246569243.jpg\" alt=\"A beautiful 1950s-era woman wearing a low cut top, looks down towards her camera.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">When her career behind the camera began in the 1950s, Bunny Yeager was dubbed the ‘world’s prettiest photographer.’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with many women who make their names working in the sex industry, Yeager’s later life came with some extra challenges. The photographer struggled financially because her tone and aesthetics fell out of favor in the 1970s, as porn hit the mainstream. (“The Yeager photographic style does not parallel the contemporary mood and image of \u003cem>Penthouse\u003c/em> magazine,” one stinging rejection letter reads.) Only with the 1990s rise of rockabilly and swing did Yeager’s work find a new generation of fans. During the lull before, she made ends meet with work in graphic design and even as a nightclub singer.\u003c/p>\n\u003cp>Yeager’s personal life was also impacted by her career. One of her daughters, Cherilu Irwin, remains ashamed of her mother’s catalog of work, speaking openly of her disapproval in \u003cem>Naked Ambition\u003c/em>. When asked what she thinks her mother’s legacy is, Irwin leaves a long pause before openly wishing Yeager had not followed the career path she followed. Irwin’s longing to disassociate from her mom’s work has also clearly been a source of tension between her and her sister Lisa, who, in contrast, feels very proud of Yeager’s accomplishments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954358","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Naked Ambition\u003c/em> isn’t all perfect. One gets the sense that darker elements of Yeager’s story are glossed over for the sake of a more upbeat veneer. There is no commentary about the fact that her husband Bud Irwin was fired from the police force after being charged with falsifying burglary reports. There is little mention of the toll that his suicide in 1977 took on her. The fact that one of her best friends — and favorite models — \u003ca href=\"https://www.themoviedb.org/person/1790519-maria-stinger?language=en-US\">Maria Stinger\u003c/a> died by suicide in 1967 isn’t even touched on, despite the fact that Yeager’s working relationship with Stinger is prominently featured.\u003c/p>\n\u003cp>Overall, \u003cem>Naked Ambition\u003c/em> is an entertaining snapshot of a resourceful and endlessly creative woman who was determined to live life on her own terms. It works fabulously as an introduction to an often-forgotten talent. It’s just a shame that, now and again, it leaves a little too much to the imagination.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2024-naked-ambition-steph-and-the-customers/\">‘Naked Ambition’ screens at San Francisco’s Roxie Cinema\u003c/a> as part of SF DocFest, on May 31, 2024 at 6:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958101/naked-ambition-documentary-review-bunny-yeager-bettie-page-photography","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_10772","arts_13672","arts_10278","arts_1201","arts_822","arts_769","arts_1386","arts_585"],"featImg":"arts_13958185","label":"arts_140"},"arts_13958776":{"type":"posts","id":"arts_13958776","meta":{"index":"posts_1716263798","site":"arts","id":"13958776","found":true},"guestAuthors":[],"slug":"santa-cruz-attack-otter-841-is-back-steamer-lane-surfboard","title":"The Infamous Santa Cruz Sea Otter Is Back and Ready to Snack (on Surfboards)","publishDate":1717009487,"format":"standard","headTitle":"The Infamous Santa Cruz Sea Otter Is Back and Ready to Snack (on Surfboards) | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Just when you thought it was safe to to go back in the the water, she’s returned!\u003c/p>\n\u003cp>Otter 841, the subversive sea mama with a surfboard vendetta has been spotted again in the waters of Santa Cruz after a five-month hiatus. In a move that was entirely on brand, she reemerged on Saturday afternoon during a surf competition. One minute, Karl Anderle was sitting on his board, quietly keeping recreational surfers out of the competition zone. The next, 841 was behind him, lurking on the back of his board and visibly plotting her next move.\u003c/p>\n\u003cp>[aside postid='arts_13955125']“I’m going over in my mind what I should do,” \u003ca href=\"https://www.mercurynews.com/2024/05/28/elusive-surfboard-stealing-otter-841-back-in-santa-cruz-up-to-her-old-tricks/\">Anderle, 69, told \u003cem>The Mercury News\u003c/em>\u003c/a>. “I didn’t really want her to bite me. I didn’t want to be that guy fighting an otter in the middle of a surf contest.”\u003c/p>\n\u003cp>As 841 began indulging in her favorite pastime — using the nearest surfboard as a chew toy — Anderle opted to slide into the water and wait it out. Despite attempts to tip 841 back off his board and into the water, the six-year-old sea menace stayed put for a full 15 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13958780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1546732755-scaled-e1717006000497.jpg\" alt=\"A man in a wetsuit sits on a white surfboard facing a large sea otter floating on its back.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Otter 841 facing off with a surfer at Steamer Lane along the Santa Cruz coastline in July 2023, when she first rose to fame. \u003ccite>(Gary Coronado/Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otter 841 achieved worldwide notoriety last summer after attacking surfers, stealing surfboards and generally seeking revenge against all aquaphiles. The still-extremely-cute marine mammal evaded repeated attempts to capture her, having learned how to outwit humanity while being reared, first, at the UC Santa Cruz Research Center and then at the Monterey Bay Aquarium, from whence she was released.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 841 \u003ca href=\"https://www.youtube.com/watch?v=QIKzAHYwfp8\">showed up in October with a tiny pup in tow\u003c/a>, it was hypothesized that maybe her prior bad acts were simply the result of raging pregnancy hormones. (Relatable!) Her reappearance, however, suggests she’s still keen to snack on surfboards, or at the very least steal a seat on them. Otter 841 can be identified by her blue tracking tag. She should be considered armed (with tiny teeth) and likely to embarrass any humans in her vicinity.\u003c/p>\n\n","blocks":[],"excerpt":"Just when you thought it was safe to go back in the water, Santa Cruz’s most maniacal marine mammal has returned.","status":"publish","parent":0,"modified":1717013945,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":381},"headData":{"title":"Lock Up Your Surfboards — Otter 841 Is Back | KQED","description":"Just when you thought it was safe to go back in the water, Santa Cruz’s most maniacal marine mammal has returned.","ogTitle":"The Infamous Santa Cruz Otter Is Back — and Ready to Snack on Your Surfboards","ogDescription":"","ogImgId":"","twTitle":"The Infamous Santa Cruz Otter Is Back — and Ready to Snack on Your Surfboards","twDescription":"","twImgId":"","socialTitle":"Lock Up Your Surfboards — Otter 841 Is Back%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Infamous Santa Cruz Sea Otter Is Back and Ready to Snack (on Surfboards)","datePublished":"2024-05-29T12:04:47-07:00","dateModified":"2024-05-29T13:19:05-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958776","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958776/santa-cruz-attack-otter-841-is-back-steamer-lane-surfboard","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just when you thought it was safe to to go back in the the water, she’s returned!\u003c/p>\n\u003cp>Otter 841, the subversive sea mama with a surfboard vendetta has been spotted again in the waters of Santa Cruz after a five-month hiatus. In a move that was entirely on brand, she reemerged on Saturday afternoon during a surf competition. One minute, Karl Anderle was sitting on his board, quietly keeping recreational surfers out of the competition zone. The next, 841 was behind him, lurking on the back of his board and visibly plotting her next move.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955125","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I’m going over in my mind what I should do,” \u003ca href=\"https://www.mercurynews.com/2024/05/28/elusive-surfboard-stealing-otter-841-back-in-santa-cruz-up-to-her-old-tricks/\">Anderle, 69, told \u003cem>The Mercury News\u003c/em>\u003c/a>. “I didn’t really want her to bite me. I didn’t want to be that guy fighting an otter in the middle of a surf contest.”\u003c/p>\n\u003cp>As 841 began indulging in her favorite pastime — using the nearest surfboard as a chew toy — Anderle opted to slide into the water and wait it out. Despite attempts to tip 841 back off his board and into the water, the six-year-old sea menace stayed put for a full 15 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13958780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1546732755-scaled-e1717006000497.jpg\" alt=\"A man in a wetsuit sits on a white surfboard facing a large sea otter floating on its back.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Otter 841 facing off with a surfer at Steamer Lane along the Santa Cruz coastline in July 2023, when she first rose to fame. \u003ccite>(Gary Coronado/Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otter 841 achieved worldwide notoriety last summer after attacking surfers, stealing surfboards and generally seeking revenge against all aquaphiles. The still-extremely-cute marine mammal evaded repeated attempts to capture her, having learned how to outwit humanity while being reared, first, at the UC Santa Cruz Research Center and then at the Monterey Bay Aquarium, from whence she was released.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 841 \u003ca href=\"https://www.youtube.com/watch?v=QIKzAHYwfp8\">showed up in October with a tiny pup in tow\u003c/a>, it was hypothesized that maybe her prior bad acts were simply the result of raging pregnancy hormones. (Relatable!) Her reappearance, however, suggests she’s still keen to snack on surfboards, or at the very least steal a seat on them. Otter 841 can be identified by her blue tracking tag. She should be considered armed (with tiny teeth) and likely to embarrass any humans in her vicinity.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958776/santa-cruz-attack-otter-841-is-back-steamer-lane-surfboard","authors":["11242"],"categories":["arts_1","arts_75"],"tags":["arts_9124","arts_10278","arts_1028"],"featImg":"arts_13958825","label":"arts"},"arts_13958926":{"type":"posts","id":"arts_13958926","meta":{"index":"posts_1716263798","site":"arts","id":"13958926","found":true},"guestAuthors":[],"slug":"nations-burgers-pies-late-night-diner-san-pablo","title":"This 24-Hour Burger Chain Is a Late-Night Landmark in the Bay","publishDate":1717182913,"format":"aside","headTitle":"This 24-Hour Burger Chain Is a Late-Night Landmark in the Bay | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13958934\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958934\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1.jpg\" alt=\"Illustration: Two men eating a spread of diner food (burger, onion rings, bacon, strawberry pie) while a woman approaches the table carrying more food on a tray.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nation’s hefty cheeseburgers and glistening strawberry pies are classic Bay Area diner food. \u003ccite>(Briana Loewinsohn)\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. This week, they were joined by guest artist — and longtime Nation’s enthusiast — Briana Loewinsohn. \u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://nationsrestaurants.com\">Nation’s Giant Hamburgers and Great Pies\u003c/a> probably doesn’t need much of an introduction.\u003c/p>\n\u003cp>Particularly if you grew up in the East Bay, chances are there was one of these fast food diners in or near your hometown. Maybe it was where your family went to grab a quick dinner when no one felt like cooking, or where the Little League coach would bring the team for post-game burgers and shakes. In high school, you might have spent hours there after school, multiple times a week, just shooting the shit with friends.\u003c/p>\n\u003cp>And for a wide swath of the Bay, the local Nation’s was almost certainly one of the only places in town where you could order a slice of pie or a full breakfast plate at 1 or 2 o’clock in the morning.\u003c/p>\n\u003cp>So when we saw that the chain’s original location in San Pablo is still open 24/7, we knew we had to pay a visit. The restaurant opened in 1952 as a tiny, \u003ca href=\"https://nationsrestaurants.com/our-story\">six-stool hot dog counter\u003c/a> (originally called “\u003ca href=\"https://www.sfgate.com/food/article/Nations-Giant-Hamburgers-East-Bay-16211282.php\">Harvey’s\u003c/a>”). The current, and much larger, iteration of the building sits across the street from the (also 24-hour) San Pablo Lytton Casino, and when you pull up after dark, it looks very much like the image of the quintessential diner that I hold in my mind’s eye: a squat, brick-faced beacon in the night, all aglow with red and white neon.\u003c/p>\n\u003cfigure id=\"attachment_13958936\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2.jpg\" alt=\"Illustration: The exterior of a Nation's fast food burger restaurant, lit up in neon at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The original San Pablo location of Nation’s is still open 24/7. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Thursday night, the crowd inside was about 40% young families out late with their kids, 40% chatty high schoolers and 20% very hungry middle-aged men (salute to my people), with their diner breakfast plates \u003ci>and\u003c/i> chili con carne \u003ci>and\u003c/i> banana cream pie spread out on the table like some midcentury still life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More than anything, it seemed to be a strictly locals kind of place – Nation’s, as a rule, is not much of a destination restaurant. “I guess you guys are from out of town,” the woman next to us in line said, laughing, not unkindly, when she saw us taking photos of the pie case and gawking at the menu with a little bit too much excitement.\u003c/p>\n\u003cp>If in doubt, you’ll probably just want to order a cheeseburger. So many Bay Area people talk up In-N-Out, our most celebrated SoCal import, that it’s easy to forget that Nation’s is the Bay’s own homegrown — and arguably superior — fast food burger chain.\u003c/p>\n\u003cp>A Nation’s cheeseburger has its own particular architecture. It has a surprising heft, mostly attributable to the thick, 5-ounce patty, but the main points of distinction are 1) the massive dollop of mayonnaise slathered underneath the patty and 2) the thick rounds of crunchy raw onion that provide a sharp counterpoint to the salty, fatty beef and cheese. (Ignore the wrongheaded people who try to convince you that it’s “too much onion.”) It’s a tasty, well-constructed burger — and if you’re feeling decadent, the fried egg and the uncommonly crispy bacon are both excellent add-ons.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13958466,arts_13954597,arts_13956683']\u003c/span>\u003c/span>We found the rest of the menu to be a little bit hit or miss. The fries were mediocre. The onion rings, while piping hot, were crumbly and underseasoned, and fell apart when we tried to eat them. The Oreo milkshake, on the other hand, was fantastic, with the ideal, slurpable thickness. And the classic breakfast plates — available in One-Egger, Two-Egger and Three-Egger permutations — are as solid as they come for an after-midnight breakfast option, with properly runny fried eggs and more of that good bacon (even if the hash browns were a bit pale and limp).\u003c/p>\n\u003cp>Our apologies, though, that we’ve gone this far without talking about Nation’s second biggest claim to fame: its pies.To be more specific, the strawberry pies, which the chain sells each spring and early summer as part of a big seasonal promotion that also features strawberry pancakes, strawberry French toast, strawberry cheesecake and straight-up bowls of strawberries (the quaintest, and most Bay Area, option).\u003c/p>\n\u003cp>The stunner, though, is the individual-size strawberry tart: a fairly standard pie shell with a mound of whole, fresh strawberries piled probably six inches high, ringed with spray-can whipped cream and coated in goopy red glaze — a pleasing juxtaposition in the way it’s both natural \u003ci>and \u003c/i>unnatural. Despite the glop, the luxuriousness of this Nation’s pie is that you’re essentially just eating a whole pint’s worth of surprisingly sweet, ripe strawberries.\u003c/p>\n\u003cp>I suppose that’s Bay Area diner culture, in a nutshell. And to be able to eat such a pie, and such a burger, at 3 o’clock in the morning? It’s what makes Nation’s a Bay Area classic.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://nationsrestaurants.com/\">\u003ci>Nation’s\u003c/i>\u003c/a>\u003ci> has 28 locations in Northern California, mostly concentrated in the East Bay (plus two in Texas). The original San Pablo location at 13296 San Pablo Dam Rd. is open 24/7.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Nation’s Giant Hamburgers has been a classic after-hours hangout spot for more than 70 years.","status":"publish","parent":0,"modified":1717182913,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":982},"headData":{"title":"Nation's 24-Hour Burger Restaurant Is a Late-Night East Bay Landmark | KQED","description":"Nation’s Giant Hamburgers has been a classic after-hours hangout spot for more than 70 years.","ogTitle":"This 24-Hour Burger Chain Is a Late-Night Landmark in the Bay","ogDescription":"","ogImgId":"","twTitle":"This 24-Hour Burger Chain Is a Late-Night Landmark in the Bay","twDescription":"","twImgId":"","socialTitle":"Nation's 24-Hour Burger Restaurant Is a Late-Night East Bay Landmark %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"This 24-Hour Burger Chain Is a Late-Night Landmark in the Bay","datePublished":"2024-05-31T12:15:13-07:00","dateModified":"2024-05-31T12:15:13-07:00","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-13958926","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958926/nations-burgers-pies-late-night-diner-san-pablo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13958934\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958934\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1.jpg\" alt=\"Illustration: Two men eating a spread of diner food (burger, onion rings, bacon, strawberry pie) while a woman approaches the table carrying more food on a tray.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_1-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nation’s hefty cheeseburgers and glistening strawberry pies are classic Bay Area diner food. \u003ccite>(Briana Loewinsohn)\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. This week, they were joined by guest artist — and longtime Nation’s enthusiast — Briana Loewinsohn. \u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://nationsrestaurants.com\">Nation’s Giant Hamburgers and Great Pies\u003c/a> probably doesn’t need much of an introduction.\u003c/p>\n\u003cp>Particularly if you grew up in the East Bay, chances are there was one of these fast food diners in or near your hometown. Maybe it was where your family went to grab a quick dinner when no one felt like cooking, or where the Little League coach would bring the team for post-game burgers and shakes. In high school, you might have spent hours there after school, multiple times a week, just shooting the shit with friends.\u003c/p>\n\u003cp>And for a wide swath of the Bay, the local Nation’s was almost certainly one of the only places in town where you could order a slice of pie or a full breakfast plate at 1 or 2 o’clock in the morning.\u003c/p>\n\u003cp>So when we saw that the chain’s original location in San Pablo is still open 24/7, we knew we had to pay a visit. The restaurant opened in 1952 as a tiny, \u003ca href=\"https://nationsrestaurants.com/our-story\">six-stool hot dog counter\u003c/a> (originally called “\u003ca href=\"https://www.sfgate.com/food/article/Nations-Giant-Hamburgers-East-Bay-16211282.php\">Harvey’s\u003c/a>”). The current, and much larger, iteration of the building sits across the street from the (also 24-hour) San Pablo Lytton Casino, and when you pull up after dark, it looks very much like the image of the quintessential diner that I hold in my mind’s eye: a squat, brick-faced beacon in the night, all aglow with red and white neon.\u003c/p>\n\u003cfigure id=\"attachment_13958936\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2.jpg\" alt=\"Illustration: The exterior of a Nation's fast food burger restaurant, lit up in neon at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nations_2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The original San Pablo location of Nation’s is still open 24/7. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Thursday night, the crowd inside was about 40% young families out late with their kids, 40% chatty high schoolers and 20% very hungry middle-aged men (salute to my people), with their diner breakfast plates \u003ci>and\u003c/i> chili con carne \u003ci>and\u003c/i> banana cream pie spread out on the table like some midcentury still life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than anything, it seemed to be a strictly locals kind of place – Nation’s, as a rule, is not much of a destination restaurant. “I guess you guys are from out of town,” the woman next to us in line said, laughing, not unkindly, when she saw us taking photos of the pie case and gawking at the menu with a little bit too much excitement.\u003c/p>\n\u003cp>If in doubt, you’ll probably just want to order a cheeseburger. So many Bay Area people talk up In-N-Out, our most celebrated SoCal import, that it’s easy to forget that Nation’s is the Bay’s own homegrown — and arguably superior — fast food burger chain.\u003c/p>\n\u003cp>A Nation’s cheeseburger has its own particular architecture. It has a surprising heft, mostly attributable to the thick, 5-ounce patty, but the main points of distinction are 1) the massive dollop of mayonnaise slathered underneath the patty and 2) the thick rounds of crunchy raw onion that provide a sharp counterpoint to the salty, fatty beef and cheese. (Ignore the wrongheaded people who try to convince you that it’s “too much onion.”) It’s a tasty, well-constructed burger — and if you’re feeling decadent, the fried egg and the uncommonly crispy bacon are both excellent add-ons.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958466,arts_13954597,arts_13956683","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>We found the rest of the menu to be a little bit hit or miss. The fries were mediocre. The onion rings, while piping hot, were crumbly and underseasoned, and fell apart when we tried to eat them. The Oreo milkshake, on the other hand, was fantastic, with the ideal, slurpable thickness. And the classic breakfast plates — available in One-Egger, Two-Egger and Three-Egger permutations — are as solid as they come for an after-midnight breakfast option, with properly runny fried eggs and more of that good bacon (even if the hash browns were a bit pale and limp).\u003c/p>\n\u003cp>Our apologies, though, that we’ve gone this far without talking about Nation’s second biggest claim to fame: its pies.To be more specific, the strawberry pies, which the chain sells each spring and early summer as part of a big seasonal promotion that also features strawberry pancakes, strawberry French toast, strawberry cheesecake and straight-up bowls of strawberries (the quaintest, and most Bay Area, option).\u003c/p>\n\u003cp>The stunner, though, is the individual-size strawberry tart: a fairly standard pie shell with a mound of whole, fresh strawberries piled probably six inches high, ringed with spray-can whipped cream and coated in goopy red glaze — a pleasing juxtaposition in the way it’s both natural \u003ci>and \u003c/i>unnatural. Despite the glop, the luxuriousness of this Nation’s pie is that you’re essentially just eating a whole pint’s worth of surprisingly sweet, ripe strawberries.\u003c/p>\n\u003cp>I suppose that’s Bay Area diner culture, in a nutshell. And to be able to eat such a pie, and such a burger, at 3 o’clock in the morning? It’s what makes Nation’s a Bay Area classic.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://nationsrestaurants.com/\">\u003ci>Nation’s\u003c/i>\u003c/a>\u003ci> has 28 locations in Northern California, mostly concentrated in the East Bay (plus two in Texas). The original San Pablo location at 13296 San Pablo Dam Rd. is open 24/7.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958926/nations-burgers-pies-late-night-diner-san-pablo","authors":["11743","11904"],"categories":["arts_1","arts_12276"],"tags":["arts_21946","arts_22144","arts_5569","arts_10278","arts_1297","arts_8805","arts_22169","arts_21928"],"featImg":"arts_13958940","label":"source_arts_13958926"},"arts_13958544":{"type":"posts","id":"arts_13958544","meta":{"index":"posts_1716263798","site":"arts","id":"13958544","found":true},"guestAuthors":[],"slug":"bottlerock-kali-uchis-review-photos","title":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","publishDate":1716746733,"format":"standard","headTitle":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s not common for a music festival stage to be concealed by a curtain, but even before Kali Uchis’ Saturday night set began at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>, she already projected an air of seduction, mystery and, above all, intentionality. The audience chanted her name, and the white fabric parted. Uchis emerged on a platform, radiant, in a ballgown of ostrich feathers. As she sang the sensual opening lines of “\u003ca href=\"https://youtu.be/zBukbgTN0cE?si=8efepBODEuXVSJko\">Moonlight\u003c/a>,” her skirt unfurled to reveal dancers covering her with their feathered fans.\u003c/p>\n\u003cp>Many artists will get up on festival stages without frills, but Uchis’ elaborate set design — resembling a neon-lit James Turrell installation — signaled that tonight was special. Other than a brief feature during Tyler, the Creator’s Coachella set in April, this was her first major appearance since dropping her phenomenal 2024 album \u003ci>Orquídeas\u003c/i>, a dreamy, Spanish-language exaltation of love and beauty. It was also her first solo performance since she and boyfriend Don Toliver welcomed their first child just two months ago.\u003c/p>\n\u003cp>“Thank you so much for having me,” Uchis said humbly, almost in a whisper. “It’s so strange for me to be here because I just had a baby. This is my first show.”\u003c/p>\n\u003cfigure id=\"attachment_13958560\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The act of creation, both of art and of life, can be spiritual, and throughout her 70-minute set Uchis exuded a Venusian, goddess-like presence. A projection of the night sky glittered behind her as her voice soared during “\u003ca href=\"https://www.youtube.com/watch?v=bn_p95HbHoQ\">telepatía\u003c/a>,” her swaying 2020 soul song about missing a far-away lover.\u003c/p>\n\u003cp>Uchis began her career a decade ago emulating ’60s girl groups and lowrider oldies, and while those influences have remained, the Colombian American singer has delicately woven together a completely distinct style of bilingual pop where R&B, reggaeton, boleros and even merengue mix together fluidly. On the BottleRock stage, Uchis seamlessly brought these styles together with her strong point of view, one that luxuriates in femininity, softness and romance.\u003c/p>\n\u003cfigure id=\"attachment_13958551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abril Morga (right) watches Kali Uchis perform with her sister Maria Morga at BottleRock Napa Valley festival on Saturday, May 25, 2024. Abril Morga loved seeing Latinx artists like Kali Uchis and Maná on the line-up this year. “It’s really nice to have some representation,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Switching the vibe to a nightclub in the cosmos, Uchis and her four-piece band (featuring Bay Area local Esai, aka Chicano God, on bass) performed “\u003ca href=\"https://www.youtube.com/watch?v=-t24yKUFLRc\">Muñekita\u003c/a>,” her uptempo, dembow track with a pouty attitude. “\u003ca href=\"https://youtu.be/hBJc4koVHLs?si=vOWe1d1qjRpVvtQx\">Labios Mordidos\u003c/a>,” her bisexual reggaeton duet with Karol G, followed, and “\u003ca href=\"https://www.youtube.com/watch?v=Wltsq-23Vhw\">¿Cómo Así?\u003c/a>” amped up the party with its house groove as dancers of all genders popped their booties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though headliners Pearl Jam played concurrently on BottleRock’s main stage, it was clear to this crowd of mostly young women and couples that Uchis was truly the main draw. A chorus of fans erupted when she performed 2018’s “\u003ca href=\"https://youtu.be/mbwUs1rnuQg?si=JRBgGo9AXtEDSHjV\">Dead to Me\u003c/a>” — not a diss track per se, but one where she gives someone a warning that there won’t be bad blood if they keep their distance.\u003c/p>\n\u003cp>Uchis told the audience this is a recurring theme in her discography. “Life is short, that’s why you don’t need people in your life that are poisonous to you,” she said. “That’s how I live my life. I don’t let people in who discourage me or make me feel bad about myself.”\u003c/p>\n\u003cfigure id=\"attachment_13958557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even her songs that evoked ego still kept it classy. Her biggest flexes tend to be about keeping her moral high ground in the face of poor treatment, trusting that the universe has her back. Her voice rang out as she belted “she’s coming to collect ’cause karma won’t forget,” from 2023’s “Moral Conscience.” There was another burst of loud applause during the coquettish, Peso Pluma-featuring “\u003ca href=\"https://youtu.be/YR1t_MUN8I4?si=7vnKeeqtKhTttJF2\">Igual Que Un Ángel\u003c/a>” (“Just Like an Angel”), where she sings in the third person about a woman so above it all that a heart like hers is rarely found on this mortal coil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To the uninitiated this could sound over the top, but at BottleRock Uchis projected such intimacy and self-possessed poise that it was hard not to feel you were in the presence of something otherworldly. Throughout her set, Uchis was an unbothered nymph singing to you from her secret garden. Fans took a little piece of that confidence with them as Uchis descended from her platform, beaming, and everyone dispersed into the night.\u003c/p>\n\u003cfigure id=\"attachment_13958556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958568\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MJ Hernandez-Daniel (center) beams while watching Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. Hernandez-Daniel traveled from Los Angeles to catch performances by Kali Uchis, Maná, and Stevie Nicks. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958571\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958571\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julianna Gonzalez records Kali Uchis’ performance on her smartphone at BottleRock Napa Valley festival on Saturday, May 25, 2024. Gonzalez traveled from Salt Lake City, Utah, to attend the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage to watch Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958552\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"It was the singer’s first show since giving birth and dropping her phenomenal album ‘Orquídeas.’","status":"publish","parent":0,"modified":1716746733,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1001},"headData":{"title":"BottleRock Kali Uchis Review: An Otherworldly Night | KQED","description":"It was the singer’s first show since giving birth and dropping her phenomenal album ‘Orquídeas.’","ogTitle":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","ogDescription":"","ogImgId":"","twTitle":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","twDescription":"","twImgId":"","socialTitle":"BottleRock Kali Uchis Review: An Otherworldly Night %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"At BottleRock, Kali Uchis Beamed Fans Up to a Club in the Cosmos","datePublished":"2024-05-26T11:05:33-07:00","dateModified":"2024-05-26T11:05:33-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958544","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958544/bottlerock-kali-uchis-review-photos","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not common for a music festival stage to be concealed by a curtain, but even before Kali Uchis’ Saturday night set began at \u003ca href=\"https://www.kqed.org/arts/tag/bottlerock\">BottleRock\u003c/a>, she already projected an air of seduction, mystery and, above all, intentionality. The audience chanted her name, and the white fabric parted. Uchis emerged on a platform, radiant, in a ballgown of ostrich feathers. As she sang the sensual opening lines of “\u003ca href=\"https://youtu.be/zBukbgTN0cE?si=8efepBODEuXVSJko\">Moonlight\u003c/a>,” her skirt unfurled to reveal dancers covering her with their feathered fans.\u003c/p>\n\u003cp>Many artists will get up on festival stages without frills, but Uchis’ elaborate set design — resembling a neon-lit James Turrell installation — signaled that tonight was special. Other than a brief feature during Tyler, the Creator’s Coachella set in April, this was her first major appearance since dropping her phenomenal 2024 album \u003ci>Orquídeas\u003c/i>, a dreamy, Spanish-language exaltation of love and beauty. It was also her first solo performance since she and boyfriend Don Toliver welcomed their first child just two months ago.\u003c/p>\n\u003cp>“Thank you so much for having me,” Uchis said humbly, almost in a whisper. “It’s so strange for me to be here because I just had a baby. This is my first show.”\u003c/p>\n\u003cfigure id=\"attachment_13958560\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The act of creation, both of art and of life, can be spiritual, and throughout her 70-minute set Uchis exuded a Venusian, goddess-like presence. A projection of the night sky glittered behind her as her voice soared during “\u003ca href=\"https://www.youtube.com/watch?v=bn_p95HbHoQ\">telepatía\u003c/a>,” her swaying 2020 soul song about missing a far-away lover.\u003c/p>\n\u003cp>Uchis began her career a decade ago emulating ’60s girl groups and lowrider oldies, and while those influences have remained, the Colombian American singer has delicately woven together a completely distinct style of bilingual pop where R&B, reggaeton, boleros and even merengue mix together fluidly. On the BottleRock stage, Uchis seamlessly brought these styles together with her strong point of view, one that luxuriates in femininity, softness and romance.\u003c/p>\n\u003cfigure id=\"attachment_13958551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis-_EG_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abril Morga (right) watches Kali Uchis perform with her sister Maria Morga at BottleRock Napa Valley festival on Saturday, May 25, 2024. Abril Morga loved seeing Latinx artists like Kali Uchis and Maná on the line-up this year. “It’s really nice to have some representation,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Switching the vibe to a nightclub in the cosmos, Uchis and her four-piece band (featuring Bay Area local Esai, aka Chicano God, on bass) performed “\u003ca href=\"https://www.youtube.com/watch?v=-t24yKUFLRc\">Muñekita\u003c/a>,” her uptempo, dembow track with a pouty attitude. “\u003ca href=\"https://youtu.be/hBJc4koVHLs?si=vOWe1d1qjRpVvtQx\">Labios Mordidos\u003c/a>,” her bisexual reggaeton duet with Karol G, followed, and “\u003ca href=\"https://www.youtube.com/watch?v=Wltsq-23Vhw\">¿Cómo Así?\u003c/a>” amped up the party with its house groove as dancers of all genders popped their booties.\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>Though headliners Pearl Jam played concurrently on BottleRock’s main stage, it was clear to this crowd of mostly young women and couples that Uchis was truly the main draw. A chorus of fans erupted when she performed 2018’s “\u003ca href=\"https://youtu.be/mbwUs1rnuQg?si=JRBgGo9AXtEDSHjV\">Dead to Me\u003c/a>” — not a diss track per se, but one where she gives someone a warning that there won’t be bad blood if they keep their distance.\u003c/p>\n\u003cp>Uchis told the audience this is a recurring theme in her discography. “Life is short, that’s why you don’t need people in your life that are poisonous to you,” she said. “That’s how I live my life. I don’t let people in who discourage me or make me feel bad about myself.”\u003c/p>\n\u003cfigure id=\"attachment_13958557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even her songs that evoked ego still kept it classy. Her biggest flexes tend to be about keeping her moral high ground in the face of poor treatment, trusting that the universe has her back. Her voice rang out as she belted “she’s coming to collect ’cause karma won’t forget,” from 2023’s “Moral Conscience.” There was another burst of loud applause during the coquettish, Peso Pluma-featuring “\u003ca href=\"https://youtu.be/YR1t_MUN8I4?si=7vnKeeqtKhTttJF2\">Igual Que Un Ángel\u003c/a>” (“Just Like an Angel”), where she sings in the third person about a woman so above it all that a heart like hers is rarely found on this mortal coil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To the uninitiated this could sound over the top, but at BottleRock Uchis projected such intimacy and self-possessed poise that it was hard not to feel you were in the presence of something otherworldly. Throughout her set, Uchis was an unbothered nymph singing to you from her secret garden. Fans took a little piece of that confidence with them as Uchis descended from her platform, beaming, and everyone dispersed into the night.\u003c/p>\n\u003cfigure id=\"attachment_13958556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958568\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MJ Hernandez-Daniel (center) beams while watching Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. Hernandez-Daniel traveled from Los Angeles to catch performances by Kali Uchis, Maná, and Stevie Nicks. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958571\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958571\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julianna Gonzalez records Kali Uchis’ performance on her smartphone at BottleRock Napa Valley festival on Saturday, May 25, 2024. Gonzalez traveled from Salt Lake City, Utah, to attend the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_09-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage to watch Kali Uchis perform at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958552\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_01-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240526_KaliUchis_EG_13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958544/bottlerock-kali-uchis-review-photos","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_1853","arts_10278","arts_1855"],"featImg":"arts_13958575","label":"arts"},"arts_13958699":{"type":"posts","id":"arts_13958699","meta":{"index":"posts_1716263798","site":"arts","id":"13958699","found":true},"guestAuthors":[],"slug":"dr-jack-turban-free-to-be-simon-schuster","title":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth","publishDate":1716923092,"format":"standard","headTitle":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth | KQED","labelTerm":{},"content":"\u003cp>\u003ca href=\"https://www.jackturban.com/\">Dr. Jack Turban\u003c/a>, one of the nation’s most respected authorities on transgender youth, nearly missed this calling and became a dermatologist. A gay son of a strongly unaccepting father, he took the tried-and-true path of trying to win family love through perfection.\u003c/p>\n\u003cp>“There’s a lot of pressure to become a dermatologist in medical school,” he tells me via video interview. “People don’t realize that it’s considered a very prestigious thing. I think I also had ‘best little gay boy in the world syndrome’ — like where you grow up thinking this thing is so bad and wrong that you should be perfect in every other way.”\u003c/p>\n\u003cp>Turban’s ideas about his career prospects began to shift on a trip to Europe, as a part of a piece he was writing for \u003cem>The New York Times\u003c/em> on trans kids. “That trip changed everything,” he says. “It was the moment for me when it went from being this intellectualized discussion to the real-life kid in front of you.”\u003c/p>\n\u003cp>Turban saw the vast difference between the kids who were being affirmed and those who weren’t. After consulting with some colleagues and doing a child psychiatry rotation, he knew his future was working with transgender children and not, as he puts it, rolling mice to their tanning beds. [aside postid='arts_13926077']\u003c/p>\n\u003cp>Much of the work that Turban has done since then as a researcher and an advocate now culminates in the release of his first book, \u003ca href=\"https://www.harvard.com/book/free_to_be/\">\u003cem>Free to Be: Understanding Kids & Gender Identity\u003c/em>\u003c/a> (out June 4 via Simon & Schuster). Written specifically for parents — although also a wonderful read for anyone who wants to be more educated about the current political debates around trans people — the book is a readable, engaging and accessible introduction to the basics of what it means to be a transgender child, and the many options open to those who wish to transition. Turban admirably engages a lot of the misinformation circulating about this heavily marginalized demographic, and grounds research in firsthand stories from his own clinical work with kids.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turban has spent much of his career in the \u003ca href=\"https://transcare.ucsf.edu/\">UCSF Gender Clinic\u003c/a>, one of the nation’s leading clinics serving transgender minors. During our interview, he noted that some states where he considered setting down roots — including Tennessee — have outlawed such care, meaning that if he had followed that path, his career would have been brought to an untimely halt by Republican legislators.\u003c/p>\n\u003cp>“It’s scary to think,” he says. [aside postid='arts_13957070']\u003c/p>\n\u003cp>In addition to serving trans kids as a medical provider, Turban has also produced a substantial body of research. One of his frequently cited papers found that when trans youth want puberty blockers and don’t have access to them, it is correlated with a substantial increase in suicidality across their entire lifespan, even if they later are able to get gender-affirming care as an adult. Among other things, this paper demonstrated how letting trans kids go through their natal puberty was not a neutral act, and could in fact have serious consequences.\u003c/p>\n\u003cp>Another paper of his found that those who realized their gender identity in childhood tended to wait over a decade before disclosing it to anyone. Turban believes that these findings help dispel one of the most widely promulgated myths about trans kids, that of so-called rapid onset gender dysphoria.\u003c/p>\n\u003cp>“Rapid onset gender dysphoria is just the thing that will not die,” he tells me. “This whole notion that when parents find out is when kids realized for the first time is clearly false. It’s heartbreaking that they have to wait so long before they even feel safe telling the people who are supposed to be the safest to talk to.” [aside postid='arts_13955066']\u003c/p>\n\u003cp>Turban shares his findings in ways that are vivid and easy to digest, which makes \u003cem>Free to Be\u003c/em> so valuable. Among other important topics, Turban examines in detail the ill-fated attempts to find a “cause” for being trans (theories include bad mothering, mental illness among mothers and sexual abuse). As Turban notes, these have all been discredited, and he presents strong evidence that transness is likely biological in nature. This would accord with the experience of the vast majority of trans people, and it would also explain why attempts at conversion therapy have been such abject failures. In fact, many studies (including Turban’s own research) have demonstrated that conversion therapy is incredibly harmful, greatly increasing suicidality and depression and failing to have any impact on identity.\u003c/p>\n\u003cp>In spite of all that, Turban does not argue that the “born this way” narrative is the best way to promote trans equality. What he argues for instead is just getting to know a trans person. “People have all these ideas and opinions about trans people, but when they finally go and meet a trans person, there’s a major ‘oh shit’ moment,” he says.\u003c/p>\n\u003cp>Turban described a presentation he gave to a group of medical students at Yale, using a pre-test and post-test to determine whether their attitudes shifted. He found that, even though the students left more informed, their beliefs about the ethics of trans medicine stayed the same.\u003c/p>\n\u003cp>After Turban arranged for a trans young person to speak about her experiences to the class, everything changed. “Major props to this girl, who did not have to do this,” he says. “She just sat down and answered questions, and all the medical students came up afterwards and said things like, ‘Oh my God, I can’t believe I ever considered taking medical care away from this kid, when it’s so clear how important this was.’” [aside postid='news_11966077']\u003c/p>\n\u003cp>In \u003cem>Free to Be\u003c/em>, Turban strikes a parallel between gay equality and trans equality, even discussing his interviews with Evan Wolfson, widely credited as an leading architect of marriage equality in the United States. As Turban notes, Wolfson has long argued that “born this way” might have played some role for the gay rights movement, but that the bigger gains were made when straight Americans interacted with gay ones as the latter became increasingly visible throughout society. Turban believes the same will hold true for trans equality.\u003c/p>\n\u003cp>Perhaps this is why Turban chooses to take so much space in \u003cem>Free to Be\u003c/em> to take us into the lives of the kids themselves, drawing on his own clinical work to compellingly share his clients’ searches for acceptance, bodily autonomy and safety.\u003c/p>\n\u003cp>In the book, we meet Sam, a seven-year-old nonbinary child. Early on in working with them, Turban explains to Sam what will soon happen when they go through their natal puberty. Turban then asks Sam what they want to do — experience that puberty or try to change it — and Sam says they’ll think about it. Turban ends up following Sam through an adolescence in which they choose not to intervene in their puberty, instead addressing their trans identity simply through things like clothing and haircuts. This episode gives the lie to prevailing myths about trans kids — that they are too young and naive to know what they want for their own bodies, and that maintaining a trans identity and a social transition will inevitably lead to medical interventions. [aside postid='arts_13858877']\u003c/p>\n\u003cp>Although Turban has had a very successful and rewarding career as an advocate for trans kids, it has not been without its share of difficulties. “For the last five, ten years, there’s been this constant stream of death threats,” he shares. “It’s become a lot scarier, especially with the political environment right now. It’s definitely something that I think about.”\u003c/p>\n\u003cp>Anti-trans hate campaigns also impact the kids he works with, especially when peers at school parrot hate speech. “It just makes me want to cry,” he says. “They hear things like being trans is a mental illness. Or the sports thing comes up, and they all want to quit sports or intentionally lose. Or when dating comes up, they’re really afraid of that.”\u003c/p>\n\u003cp>As someone who has spent years of my professional life supporting the mental health of trans people, as well as educating other clinicians about best practices for serving this demographic, Turban’s work has been absolutely essential. His research papers are among those that I most often quote and share with colleagues and parents of trans children. They are impactful and eye-opening, and really help those who are not trans better understand the experience.\u003c/p>\n\u003cp>\u003cem>Free to Be\u003c/em> is a wonderful distillation of years of Turban’s research, as well as his advocacy and countless hours of face-to-face work with these kids and their parents. I know it is something I will be reaching for often, and recommending to my clients for some time to come.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Jack Turban will discuss ‘Free to Be’ at\u003ca href=\"https://www.bookpassage.com/event/jack-turban-md-free-be-understanding-kids-gender-identity-corte-madera-store\"> Book Passage in Corte Madera on June 2\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Veronica Esposito is a writer, transgender advocate and associate marriage and family therapist specializing in supporting transgender clients. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Jack Turban cuts through the noise of anti-trans panic with research and real-life patient stories. ","status":"publish","parent":0,"modified":1716923292,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1582},"headData":{"title":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth | KQED","description":"Jack Turban cuts through the noise of anti-trans panic with research and real-life patient stories. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth","datePublished":"2024-05-28T12:04:52-07:00","dateModified":"2024-05-28T12:08:12-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary ","sourceUrl":"https://www.kqed.org/arts/tag/commentary","sticky":false,"nprByline":"Veronica Esposito ","nprStoryId":"kqed-13958699","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13958699/dr-jack-turban-free-to-be-simon-schuster","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.jackturban.com/\">Dr. Jack Turban\u003c/a>, one of the nation’s most respected authorities on transgender youth, nearly missed this calling and became a dermatologist. A gay son of a strongly unaccepting father, he took the tried-and-true path of trying to win family love through perfection.\u003c/p>\n\u003cp>“There’s a lot of pressure to become a dermatologist in medical school,” he tells me via video interview. “People don’t realize that it’s considered a very prestigious thing. I think I also had ‘best little gay boy in the world syndrome’ — like where you grow up thinking this thing is so bad and wrong that you should be perfect in every other way.”\u003c/p>\n\u003cp>Turban’s ideas about his career prospects began to shift on a trip to Europe, as a part of a piece he was writing for \u003cem>The New York Times\u003c/em> on trans kids. “That trip changed everything,” he says. “It was the moment for me when it went from being this intellectualized discussion to the real-life kid in front of you.”\u003c/p>\n\u003cp>Turban saw the vast difference between the kids who were being affirmed and those who weren’t. After consulting with some colleagues and doing a child psychiatry rotation, he knew his future was working with transgender children and not, as he puts it, rolling mice to their tanning beds. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926077","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of the work that Turban has done since then as a researcher and an advocate now culminates in the release of his first book, \u003ca href=\"https://www.harvard.com/book/free_to_be/\">\u003cem>Free to Be: Understanding Kids & Gender Identity\u003c/em>\u003c/a> (out June 4 via Simon & Schuster). Written specifically for parents — although also a wonderful read for anyone who wants to be more educated about the current political debates around trans people — the book is a readable, engaging and accessible introduction to the basics of what it means to be a transgender child, and the many options open to those who wish to transition. Turban admirably engages a lot of the misinformation circulating about this heavily marginalized demographic, and grounds research in firsthand stories from his own clinical work with kids.\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>Turban has spent much of his career in the \u003ca href=\"https://transcare.ucsf.edu/\">UCSF Gender Clinic\u003c/a>, one of the nation’s leading clinics serving transgender minors. During our interview, he noted that some states where he considered setting down roots — including Tennessee — have outlawed such care, meaning that if he had followed that path, his career would have been brought to an untimely halt by Republican legislators.\u003c/p>\n\u003cp>“It’s scary to think,” he says. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957070","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to serving trans kids as a medical provider, Turban has also produced a substantial body of research. One of his frequently cited papers found that when trans youth want puberty blockers and don’t have access to them, it is correlated with a substantial increase in suicidality across their entire lifespan, even if they later are able to get gender-affirming care as an adult. Among other things, this paper demonstrated how letting trans kids go through their natal puberty was not a neutral act, and could in fact have serious consequences.\u003c/p>\n\u003cp>Another paper of his found that those who realized their gender identity in childhood tended to wait over a decade before disclosing it to anyone. Turban believes that these findings help dispel one of the most widely promulgated myths about trans kids, that of so-called rapid onset gender dysphoria.\u003c/p>\n\u003cp>“Rapid onset gender dysphoria is just the thing that will not die,” he tells me. “This whole notion that when parents find out is when kids realized for the first time is clearly false. It’s heartbreaking that they have to wait so long before they even feel safe telling the people who are supposed to be the safest to talk to.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955066","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turban shares his findings in ways that are vivid and easy to digest, which makes \u003cem>Free to Be\u003c/em> so valuable. Among other important topics, Turban examines in detail the ill-fated attempts to find a “cause” for being trans (theories include bad mothering, mental illness among mothers and sexual abuse). As Turban notes, these have all been discredited, and he presents strong evidence that transness is likely biological in nature. This would accord with the experience of the vast majority of trans people, and it would also explain why attempts at conversion therapy have been such abject failures. In fact, many studies (including Turban’s own research) have demonstrated that conversion therapy is incredibly harmful, greatly increasing suicidality and depression and failing to have any impact on identity.\u003c/p>\n\u003cp>In spite of all that, Turban does not argue that the “born this way” narrative is the best way to promote trans equality. What he argues for instead is just getting to know a trans person. “People have all these ideas and opinions about trans people, but when they finally go and meet a trans person, there’s a major ‘oh shit’ moment,” he says.\u003c/p>\n\u003cp>Turban described a presentation he gave to a group of medical students at Yale, using a pre-test and post-test to determine whether their attitudes shifted. He found that, even though the students left more informed, their beliefs about the ethics of trans medicine stayed the same.\u003c/p>\n\u003cp>After Turban arranged for a trans young person to speak about her experiences to the class, everything changed. “Major props to this girl, who did not have to do this,” he says. “She just sat down and answered questions, and all the medical students came up afterwards and said things like, ‘Oh my God, I can’t believe I ever considered taking medical care away from this kid, when it’s so clear how important this was.’” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11966077","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Free to Be\u003c/em>, Turban strikes a parallel between gay equality and trans equality, even discussing his interviews with Evan Wolfson, widely credited as an leading architect of marriage equality in the United States. As Turban notes, Wolfson has long argued that “born this way” might have played some role for the gay rights movement, but that the bigger gains were made when straight Americans interacted with gay ones as the latter became increasingly visible throughout society. Turban believes the same will hold true for trans equality.\u003c/p>\n\u003cp>Perhaps this is why Turban chooses to take so much space in \u003cem>Free to Be\u003c/em> to take us into the lives of the kids themselves, drawing on his own clinical work to compellingly share his clients’ searches for acceptance, bodily autonomy and safety.\u003c/p>\n\u003cp>In the book, we meet Sam, a seven-year-old nonbinary child. Early on in working with them, Turban explains to Sam what will soon happen when they go through their natal puberty. Turban then asks Sam what they want to do — experience that puberty or try to change it — and Sam says they’ll think about it. Turban ends up following Sam through an adolescence in which they choose not to intervene in their puberty, instead addressing their trans identity simply through things like clothing and haircuts. This episode gives the lie to prevailing myths about trans kids — that they are too young and naive to know what they want for their own bodies, and that maintaining a trans identity and a social transition will inevitably lead to medical interventions. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13858877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although Turban has had a very successful and rewarding career as an advocate for trans kids, it has not been without its share of difficulties. “For the last five, ten years, there’s been this constant stream of death threats,” he shares. “It’s become a lot scarier, especially with the political environment right now. It’s definitely something that I think about.”\u003c/p>\n\u003cp>Anti-trans hate campaigns also impact the kids he works with, especially when peers at school parrot hate speech. “It just makes me want to cry,” he says. “They hear things like being trans is a mental illness. Or the sports thing comes up, and they all want to quit sports or intentionally lose. Or when dating comes up, they’re really afraid of that.”\u003c/p>\n\u003cp>As someone who has spent years of my professional life supporting the mental health of trans people, as well as educating other clinicians about best practices for serving this demographic, Turban’s work has been absolutely essential. His research papers are among those that I most often quote and share with colleagues and parents of trans children. They are impactful and eye-opening, and really help those who are not trans better understand the experience.\u003c/p>\n\u003cp>\u003cem>Free to Be\u003c/em> is a wonderful distillation of years of Turban’s research, as well as his advocacy and countless hours of face-to-face work with these kids and their parents. I know it is something I will be reaching for often, and recommending to my clients for some time to come.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Jack Turban will discuss ‘Free to Be’ at\u003ca href=\"https://www.bookpassage.com/event/jack-turban-md-free-be-understanding-kids-gender-identity-corte-madera-store\"> Book Passage in Corte Madera on June 2\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>Veronica Esposito is a writer, transgender advocate and associate marriage and family therapist specializing in supporting transgender clients. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958699/dr-jack-turban-free-to-be-simon-schuster","authors":["byline_arts_13958699"],"categories":["arts_1","arts_73","arts_2303","arts_835"],"tags":["arts_14452","arts_2767","arts_10278","arts_3226","arts_702"],"featImg":"arts_13958700","label":"source_arts_13958699"},"arts_13958762":{"type":"posts","id":"arts_13958762","meta":{"index":"posts_1716263798","site":"arts","id":"13958762","found":true},"guestAuthors":[],"slug":"who-is-michael-jang-documentary-michael-jacobs-sf-docfest","title":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","publishDate":1717013243,"format":"standard","headTitle":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Michael Jang is an authentic San Francisco character. He is also a gifted photographer. You didn’t know? Michael Jacobs is here to help.\u003c/p>\n\u003cp>Jacobs’ fascinating portrait, \u003cem>\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">Who is Michael Jang?\u003c/a>\u003c/em>, has its world premiere Thursday, May 30 at the Roxie on opening night of the San Francisco Documentary Film Festival (aka SF DocFest). The screening shapes up to be a raucous celebration of a cult NorCal figure, with Jacobs beaming from the edges of the spotlight. \u003c/p>\n\u003cp>The self-effacing Marin County documentary maker made a splash with his 2007 debut, \u003cem>Audience of One\u003c/em>, the jaw-dropping saga of a Pentecostal minister of a small congregation in the Richmond who declares out of the blue that God has instructed him to make a film. Not a homemade inspirational parable, however, but a multimillion-dollar sci-fi epic.\u003c/p>\n\u003cp>Since its long-ago festival run \u003cem>Audience of One\u003c/em> has only been available as a hard-to-find DVD — it’s never been licensed to a streaming platform — yet it’s one of those docs that sticks in the memory. That’s a Michael Jacobs trademark: audiences forget his name but not his characters and stories. (His 2014 short doc \u003cem>The High Five\u003c/em> honored gay major league ballplayer Glenn Burke, who introduced the high five celebration with Dodger teammate Dusty Baker in 1977.)\u003c/p>\n\u003cfigure id=\"attachment_13958812\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg\" alt='Man sits at bus stop with hands in pockets, wheat paste of \"JANG\" poster above him on wall' width=\"2560\" height=\"1920\" class=\"size-full wp-image-13958812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The artist Michael Jang in a still from ‘Who is Michael Jang?’ \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs met Jang when they shared the bill at a Pop-Up Magazine show in 2015. Jacobs and Barry Jenkins (pre-\u003cem>Moonlight\u003c/em>) presented a short, \u003cem>Boxing Gym\u003c/em>, they shot in Oakland. Jang showed some of the headshots he took of local contestants trying out to be meteorologists for a local newscast in the late 1980s (which are included, thankfully, in \u003cem>Who is Michael Jang?\u003c/em>). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He presented the \u003cem>Summer Weather\u003c/em> images and told this very, very funny and endearing and engaging story about how he came to take these pictures and the different types of people that showed up,” Jacobs recalls. “I was just immediately captivated by his images and by his personality.”\u003c/p>\n\u003cp>One of the themes of \u003cem>Who is Michael Jang?\u003c/em> is the artist’s frustration at not being recognized early on for a remarkable body of work that encompassed punk shows, Asian American protests and family get-togethers (that magically transcend personal mementos). Jang encountered discrimination as a Chinese American photographer, and his subsequent decision to focus on commercial photography to support his family essentially took him off the radar for curators and critics.\u003c/p>\n\u003cp>Plenty of artists would have used an introduction like the Pop-Up Magazine encounter to pitch themselves to Jacobs as a documentary subject. But not Michael Jang.\u003c/p>\n\u003cp>“I’m not sure what occurs to him and what doesn’t when it comes to the ways in which he wants to share his work with the world,” Jacobs says. “I think he’s always been more focused on being recognized in fine art settings and museum and gallery settings.”\u003c/p>\n\u003cfigure id=\"attachment_13958814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg\" alt=\"Classic car in front of wall of wheatpasted black and white family photos on boarded-up storefront\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13958814\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">An example of Michael Jang’s renegade art displays on the streets of San Francisco. \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic, Jang devised a public art campaign with a caustic thread of sociopolitical commentary. Mining his archives, he created and pasted posters and collages on boarded-up Clement Street storefronts. Jang was responding, in part, to the increase in anti-Asian violence triggered by a certain public figure’s inflammatory description of COVID-19 as “the Chinese virus.”\u003c/p>\n\u003cp>Meanwhile, the fact that the new work repurposed old photographs — bringing the past into the present — may have something to do with why locked-down San Franciscans connected with it. Jang also photographed and posted his street art \u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\">on Instagram\u003c/a>. Enter, or re-enter, Mike Jacobs.\u003c/p>\n\u003cp>“My curiosity was piqued about who this guy is and what exactly he was doing and why I wasn’t more familiar with him,” Jacobs recalls. “And why other people that I knew who paid attention to photography and fine art and culture weren’t familiar with him either.”\u003c/p>\n\u003cp>[aside postID='arts_13958101,arts_13958735' label='More at SF DocFest']\u003cem>Who is Michael Jang?\u003c/em>, which clocks in at an unusual 42 minutes, and airs on PBS this fall or next winter, pulls off the thrilling trick of being an expression of its maker and a work of art in its own right, without upstaging its talented subject. \u003c/p>\n\u003cp>Jacobs and editor Clayton Worfolk mix and match the usual doc elements — a vast array of archival footage, contemporary interviews and verité footage (a downhill run of Jang’s skateboard friends to Ocean Beach, Jang in character and costume as the cigarette-smoking Chef Jang, a cook at Brandon Jew’s Chinatown establishment Mister Jiu’s) — to establish a solid San Francisco backdrop, dissolve time (to erase the distance between the past and the present) and honor the mystery at the core of Jang’s creativity.\u003c/p>\n\u003cp>“We knew Michael’s interview was going to be direct to camera, where the audience was going to get the opportunity to meet his eye and look at him in that one-on-one relationship,” Jacobs explains. “With the other [interview] subjects, we decided that black-and-white would be a nod to his still photography and the way he created these beautiful Leica snapshots. It also supported the transitions to archival through different eras of storytelling.” \u003c/p>\n\u003cp>The documentary incorporates 8mm and 16mm film reels from Jang’s childhood; family photographs from the 1950s and ’60s; as well as his fine art photography from the ’70s, ’80s and ’90s. Along with introducing Jang to audiences who didn’t know him, Jacobs was determined to provide fresh context and new information for people who are familiar with the photographer’s work.\u003c/p>\n\u003cp>“Some of these scenes are a bit more out of context from a traditional biographical documentary, skateboarding or the kitchen scene,” he notes. “They are small moments but they illustrate the real visceral immediacy of an artist living, working, breathing in the city. And some of the things he reveals in the storytelling, whether it’s his kids or things he talks about at the end of the film, those are things that he’s probably shared with very few people.”\u003c/p>\n\u003cp>https://vimeo.com/946766672\u003c/p>\n\u003cp>Arguably the most thought-provoking element, though, is Jang’s recurring performance as Chef Jang. It’s an important piece of the documentary, denoting Jang’s collaboration with the filmmaker while conveying his autonomy and authority.\u003c/p>\n\u003cp>“It’s very difficult working with a living artist because they’re very particular — with good reason — about the ways in which they’re being perceived,” Jacobs says. “Michael’s had articles written about him, he’s had gallery shows and his work is featured in museums, but a documentary’s different. It’s going to be how I want the audience to perceive his life and times. We’re going to make choices that he may not like or agree with. \u003c/p>\n\u003cp>“That’s a delicate, delicate balance with a documentary subject who has never really been exposed in this way,” Jacobs continues. “I really empathize with that. Being an artist is already living with a certain amount of vulnerability, and that vulnerability is only heightened with cameras and filmmakers.”\u003c/p>\n\u003cp>Jacobs developed a level of trust with Jang that is palpable on screen. Yes, they bonded as visual artists — voyeurs — who shoot and interpret real life. But they also share a private childish joy at circumventing the gatekeepers. \u003c/p>\n\u003cp>“Something that I love about Michael, that he says early in the film, is he and I absolutely can relate to each other [because] he was sneaking into places to take pictures where he wasn’t permitted,” Jacobs says. “With documentary I sometimes feel the same. The camera and the project is providing me a mechanism for access to a world that I wouldn’t necessarily be invited to, and I wouldn’t necessarily be a part of in my everyday life.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Who is Michael Jang?’ screens with ‘Kim Jong, Alfaman and The Probe: A LeMons Race’ at 8:30 p.m. and 10:30 p.m. on Thursday, May 30 at the Roxie Theater as part of \u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">SF DocFest\u003c/a>. It is also available to stream online May 30–June 9, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Michael Jacobs’ portrait of the San Francisco photographer is both kinetic and timeless.","status":"publish","parent":0,"modified":1717100630,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1472},"headData":{"title":"‘Who is Michael Jang?’ Premieres at SF DocFest | KQED","description":"Michael Jacobs’ portrait of the San Francisco photographer is both kinetic and timeless.","ogTitle":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","ogDescription":"","ogImgId":"","twTitle":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","twDescription":"","twImgId":"","socialTitle":"‘Who is Michael Jang?’ Premieres at SF DocFest %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Who is Michael Jang?’ Is a View of the Artist as Performer in SF DocFest Debut","datePublished":"2024-05-29T13:07:23-07:00","dateModified":"2024-05-30T13:23:50-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958762","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Jang is an authentic San Francisco character. He is also a gifted photographer. You didn’t know? Michael Jacobs is here to help.\u003c/p>\n\u003cp>Jacobs’ fascinating portrait, \u003cem>\u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">Who is Michael Jang?\u003c/a>\u003c/em>, has its world premiere Thursday, May 30 at the Roxie on opening night of the San Francisco Documentary Film Festival (aka SF DocFest). The screening shapes up to be a raucous celebration of a cult NorCal figure, with Jacobs beaming from the edges of the spotlight. \u003c/p>\n\u003cp>The self-effacing Marin County documentary maker made a splash with his 2007 debut, \u003cem>Audience of One\u003c/em>, the jaw-dropping saga of a Pentecostal minister of a small congregation in the Richmond who declares out of the blue that God has instructed him to make a film. Not a homemade inspirational parable, however, but a multimillion-dollar sci-fi epic.\u003c/p>\n\u003cp>Since its long-ago festival run \u003cem>Audience of One\u003c/em> has only been available as a hard-to-find DVD — it’s never been licensed to a streaming platform — yet it’s one of those docs that sticks in the memory. That’s a Michael Jacobs trademark: audiences forget his name but not his characters and stories. (His 2014 short doc \u003cem>The High Five\u003c/em> honored gay major league ballplayer Glenn Burke, who introduced the high five celebration with Dodger teammate Dusty Baker in 1977.)\u003c/p>\n\u003cfigure id=\"attachment_13958812\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg\" alt='Man sits at bus stop with hands in pockets, wheat paste of \"JANG\" poster above him on wall' width=\"2560\" height=\"1920\" class=\"size-full wp-image-13958812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-01-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The artist Michael Jang in a still from ‘Who is Michael Jang?’ \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs met Jang when they shared the bill at a Pop-Up Magazine show in 2015. Jacobs and Barry Jenkins (pre-\u003cem>Moonlight\u003c/em>) presented a short, \u003cem>Boxing Gym\u003c/em>, they shot in Oakland. Jang showed some of the headshots he took of local contestants trying out to be meteorologists for a local newscast in the late 1980s (which are included, thankfully, in \u003cem>Who is Michael Jang?\u003c/em>). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He presented the \u003cem>Summer Weather\u003c/em> images and told this very, very funny and endearing and engaging story about how he came to take these pictures and the different types of people that showed up,” Jacobs recalls. “I was just immediately captivated by his images and by his personality.”\u003c/p>\n\u003cp>One of the themes of \u003cem>Who is Michael Jang?\u003c/em> is the artist’s frustration at not being recognized early on for a remarkable body of work that encompassed punk shows, Asian American protests and family get-togethers (that magically transcend personal mementos). Jang encountered discrimination as a Chinese American photographer, and his subsequent decision to focus on commercial photography to support his family essentially took him off the radar for curators and critics.\u003c/p>\n\u003cp>Plenty of artists would have used an introduction like the Pop-Up Magazine encounter to pitch themselves to Jacobs as a documentary subject. But not Michael Jang.\u003c/p>\n\u003cp>“I’m not sure what occurs to him and what doesn’t when it comes to the ways in which he wants to share his work with the world,” Jacobs says. “I think he’s always been more focused on being recognized in fine art settings and museum and gallery settings.”\u003c/p>\n\u003cfigure id=\"attachment_13958814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg\" alt=\"Classic car in front of wall of wheatpasted black and white family photos on boarded-up storefront\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13958814\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Who-Is-Michael-Jang-3-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">An example of Michael Jang’s renegade art displays on the streets of San Francisco. \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic, Jang devised a public art campaign with a caustic thread of sociopolitical commentary. Mining his archives, he created and pasted posters and collages on boarded-up Clement Street storefronts. Jang was responding, in part, to the increase in anti-Asian violence triggered by a certain public figure’s inflammatory description of COVID-19 as “the Chinese virus.”\u003c/p>\n\u003cp>Meanwhile, the fact that the new work repurposed old photographs — bringing the past into the present — may have something to do with why locked-down San Franciscans connected with it. Jang also photographed and posted his street art \u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\">on Instagram\u003c/a>. Enter, or re-enter, Mike Jacobs.\u003c/p>\n\u003cp>“My curiosity was piqued about who this guy is and what exactly he was doing and why I wasn’t more familiar with him,” Jacobs recalls. “And why other people that I knew who paid attention to photography and fine art and culture weren’t familiar with him either.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958101,arts_13958735","label":"More at SF DocFest "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Who is Michael Jang?\u003c/em>, which clocks in at an unusual 42 minutes, and airs on PBS this fall or next winter, pulls off the thrilling trick of being an expression of its maker and a work of art in its own right, without upstaging its talented subject. \u003c/p>\n\u003cp>Jacobs and editor Clayton Worfolk mix and match the usual doc elements — a vast array of archival footage, contemporary interviews and verité footage (a downhill run of Jang’s skateboard friends to Ocean Beach, Jang in character and costume as the cigarette-smoking Chef Jang, a cook at Brandon Jew’s Chinatown establishment Mister Jiu’s) — to establish a solid San Francisco backdrop, dissolve time (to erase the distance between the past and the present) and honor the mystery at the core of Jang’s creativity.\u003c/p>\n\u003cp>“We knew Michael’s interview was going to be direct to camera, where the audience was going to get the opportunity to meet his eye and look at him in that one-on-one relationship,” Jacobs explains. “With the other [interview] subjects, we decided that black-and-white would be a nod to his still photography and the way he created these beautiful Leica snapshots. It also supported the transitions to archival through different eras of storytelling.” \u003c/p>\n\u003cp>The documentary incorporates 8mm and 16mm film reels from Jang’s childhood; family photographs from the 1950s and ’60s; as well as his fine art photography from the ’70s, ’80s and ’90s. Along with introducing Jang to audiences who didn’t know him, Jacobs was determined to provide fresh context and new information for people who are familiar with the photographer’s work.\u003c/p>\n\u003cp>“Some of these scenes are a bit more out of context from a traditional biographical documentary, skateboarding or the kitchen scene,” he notes. “They are small moments but they illustrate the real visceral immediacy of an artist living, working, breathing in the city. And some of the things he reveals in the storytelling, whether it’s his kids or things he talks about at the end of the film, those are things that he’s probably shared with very few people.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"946766672"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arguably the most thought-provoking element, though, is Jang’s recurring performance as Chef Jang. It’s an important piece of the documentary, denoting Jang’s collaboration with the filmmaker while conveying his autonomy and authority.\u003c/p>\n\u003cp>“It’s very difficult working with a living artist because they’re very particular — with good reason — about the ways in which they’re being perceived,” Jacobs says. “Michael’s had articles written about him, he’s had gallery shows and his work is featured in museums, but a documentary’s different. It’s going to be how I want the audience to perceive his life and times. We’re going to make choices that he may not like or agree with. \u003c/p>\n\u003cp>“That’s a delicate, delicate balance with a documentary subject who has never really been exposed in this way,” Jacobs continues. “I really empathize with that. Being an artist is already living with a certain amount of vulnerability, and that vulnerability is only heightened with cameras and filmmakers.”\u003c/p>\n\u003cp>Jacobs developed a level of trust with Jang that is palpable on screen. Yes, they bonded as visual artists — voyeurs — who shoot and interpret real life. But they also share a private childish joy at circumventing the gatekeepers. \u003c/p>\n\u003cp>“Something that I love about Michael, that he says early in the film, is he and I absolutely can relate to each other [because] he was sneaking into places to take pictures where he wasn’t permitted,” Jacobs says. “With documentary I sometimes feel the same. The camera and the project is providing me a mechanism for access to a world that I wouldn’t necessarily be invited to, and I wouldn’t necessarily be a part of in my everyday life.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Who is Michael Jang?’ screens with ‘Kim Jong, Alfaman and The Probe: A LeMons Race’ at 8:30 p.m. and 10:30 p.m. on Thursday, May 30 at the Roxie Theater as part of \u003ca href=\"https://sfdocfest2024.eventive.org/schedule/661157dad8b29c0048d69138\">SF DocFest\u003c/a>. It is also available to stream online May 30–June 9, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_70"],"tags":["arts_21958","arts_10342","arts_10278","arts_822","arts_585"],"featImg":"arts_13867630","label":"arts_140"},"arts_13958873":{"type":"posts","id":"arts_13958873","meta":{"index":"posts_1716263798","site":"arts","id":"13958873","found":true},"guestAuthors":[],"slug":"moms-4-housing-archive-of-urban-futures-oakland","title":"Moms 4 Housing and UC Berkeley Researchers Create An Archive For Activism","publishDate":1717184511,"format":"standard","headTitle":"Moms 4 Housing and UC Berkeley Researchers Create An Archive For Activism | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>During a recent workshop with the Archive of Urban Futures, Azlinah Tambu was asked what she wanted for the future of Oakland.\u003c/p>\n\u003cp>Tambu, a leader in the \u003ca href=\"https://oaklandnorth.net/2022/05/23/its-not-going-to-be-the-same-for-one-family-life-will-get-harder-when-parker-school-closes/\" target=\"_blank\" rel=\"noopener\">2022 occupation of Parker Elementary School\u003c/a> and member of the organization \u003ca href=\"https://moms4housing.org/\" target=\"_blank\" rel=\"noopener\">Moms 4 Housing\u003c/a>, said she wanted a “Hyphy Rail.” She described it as an “affordable, high-speed train that could rejoin families who were disconnected due to gentrification.”\u003c/p>\n\u003cp>While the Hyphy Rail might not be completely feasible, it speaks to the mindset that the \u003ca href=\"https://archiveofurbanfutures.org/\" target=\"_blank\" rel=\"noopener\">Archive of Urban Futures\u003c/a> is looking for: a new way of imagining transportation, housing and life in Oakland that aims to heal the harms of the past.\u003c/p>\n\u003cp>[aside postID='news_11842392']On Sunday, June 2, the Archive of Urban Futures and Moms 4 Housing will be at the Oakland Museum of California doing some of this collective imagining. The public is invited to the afternoon of panel discussions, community conversations and a film screening as a part of \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\" target=\"_blank\" rel=\"noopener\">The Summer Institute.\u003c/a>\u003c/p>\n\u003cp>The one-day event will illustrate the work the Archive of Urban Futures, a collaboration between UC Berkeley researchers and members of Moms 4 Housing, which gained notoriety in 2019 after successfully protesting a major real estate company by occupying a vacant house in West Oakland. Over the past two years, the Archive of Urban Futures has compiled historical documents about the barriers Black people have faced in Oakland when it comes to housing, from redlining to predatory loans. The group has also taken a critical look at the current housing situation in the Town, where unaffordable home prices and mass amounts of unhoused people are a constant topic of discussion. Ultimately, they’ve been imagining what people might want their hometown to look like.\u003c/p>\n\u003cfigure id=\"attachment_13958899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958899 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-800x533.jpg\" alt=\"Woman in a white dress and glasses poses for a photo outside of a warehouse. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4.jpg 1854w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Brandi T. Summers stops for a photo outside of a warehouse in West Oakland. \u003ccite>(Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Brandi T. Summers, Associate Professor of Geography at UC Berkeley, tells me this isn’t your usual “archive.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Based on what famed historian Howard Zinn referred to as “archival activism,” Summers says the work of the Archive of Urban Futures is to support \u003cspan style=\"font-weight: 400\">activities that directly support social justice. \u003c/span>\u003cspan style=\"font-weight: 400\">“The work to save a guy’s home is social justice and racial justice,” says Summers, referring to a clip from the short film about Moms 4 Housing titled \u003cem>Housing is a Human Right\u003c/em>, by Clara Perez. Summers explains that the footage in the film is also “an archive in teaching others how they can fight for their loved ones or even their neighbors.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Summers describes the archive as “multimodal,” explaining that this isn’t just a set of papers collecting dust in a library.\u003c/span>\u003c/p>\n\u003cp>“We’ve given community workshops and presentations at the Oakland Public Library,” says Summers. “We have a website with documents from the redlining period. Graduate students produced maps showing changes in race and class in neighborhoods, as well as environmental threats.” And she makes it clear: the purpose of the archive isn’t for the benefit of the institution, it’s for the community.\u003c/p>\n\u003cp>Summers, an African American woman who was raised in East Oakland, was hurt when she learned that upwards of\u003ca href=\"https://www.oaklandca.gov/news/alameda-county-partners-create-racial-equity-strategy-to-end-homelessness\" target=\"_blank\" rel=\"noopener\"> 70% of the unhoused people in Oakland are Black\u003c/a>. When asked to make sense of that number, especially in light of conversations about reparations and land reclamation, Summers says, “Time is a loop, it’s a circle. A lot of what we’re experiencing today might look a little different, but it’s something we’ve had in the past.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3T8r_c03zLI&t=202s\u003c/p>\n\u003cp>She looks back at the Great Migration of the early-to-mid 1900s, where African Americans fled the south in droves to the inner cities of the North, Midwest and West Coast in search of employment. “Black people in the Bay, in Oakland specifically, we were brought here to fulfill certain labor goals,” says Summers. She points out the \u003ca href=\"https://www.habitatebsv.org/blog/richmond-fair-housing-history\" target=\"_blank\" rel=\"noopener\">makeshift housing that was given to the workers\u003c/a> — old army barracks and even railroad cars. “There was never an intention for Black folks to have a home here. And I think that what we’re seeing today is not too far from that.”\u003c/p>\n\u003cp>Oakland is but one example of this issue, Summers says. Similar statements can be made about cities like Detroit, Baltimore and other post-industrial towns that attracted Black folks from the south nearly a century ago.\u003c/p>\n\u003cp>Broadening the conversation presents a very gloomy outlook for African Americans in this country, as a whole. But that’s why the Archive of Urban Futures urges the community to conjure up a more vibrant vision of what’s to come.\u003c/p>\n\u003cp>With an ambitious outlook, Summers says, “Black folks have a long history of taking unpleasant things and making them useful and beautiful.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Archive of Urban Futures presents \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\" target=\"_blank\" rel=\"noopener\">The Summer Institute\u003c/a> on Sunday, June 2, from 11:30 a.m.–3:30 p.m. at the Oakland Museum of California’s Lecture Hall. A catered reception follows from 4 p.m.–5 p.m. in the California Room. \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Mapping gentrification, redlining and predatory loans, the Archive of Urban Futures also imagines a new future for Oakland.","status":"publish","parent":0,"modified":1717185558,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":888},"headData":{"title":"Moms 4 Housing and UC Berkeley Researchers Create An Archive For Activism | KQED","description":"Mapping gentrification, redlining and predatory loans, the Archive of Urban Futures also imagines a new future for Oakland.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Moms 4 Housing and UC Berkeley Researchers Create An Archive For Activism","datePublished":"2024-05-31T12:41:51-07:00","dateModified":"2024-05-31T12:59:18-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958873","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958873/moms-4-housing-archive-of-urban-futures-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During a recent workshop with the Archive of Urban Futures, Azlinah Tambu was asked what she wanted for the future of Oakland.\u003c/p>\n\u003cp>Tambu, a leader in the \u003ca href=\"https://oaklandnorth.net/2022/05/23/its-not-going-to-be-the-same-for-one-family-life-will-get-harder-when-parker-school-closes/\" target=\"_blank\" rel=\"noopener\">2022 occupation of Parker Elementary School\u003c/a> and member of the organization \u003ca href=\"https://moms4housing.org/\" target=\"_blank\" rel=\"noopener\">Moms 4 Housing\u003c/a>, said she wanted a “Hyphy Rail.” She described it as an “affordable, high-speed train that could rejoin families who were disconnected due to gentrification.”\u003c/p>\n\u003cp>While the Hyphy Rail might not be completely feasible, it speaks to the mindset that the \u003ca href=\"https://archiveofurbanfutures.org/\" target=\"_blank\" rel=\"noopener\">Archive of Urban Futures\u003c/a> is looking for: a new way of imagining transportation, housing and life in Oakland that aims to heal the harms of the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11842392","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>On Sunday, June 2, the Archive of Urban Futures and Moms 4 Housing will be at the Oakland Museum of California doing some of this collective imagining. The public is invited to the afternoon of panel discussions, community conversations and a film screening as a part of \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\" target=\"_blank\" rel=\"noopener\">The Summer Institute.\u003c/a>\u003c/p>\n\u003cp>The one-day event will illustrate the work the Archive of Urban Futures, a collaboration between UC Berkeley researchers and members of Moms 4 Housing, which gained notoriety in 2019 after successfully protesting a major real estate company by occupying a vacant house in West Oakland. Over the past two years, the Archive of Urban Futures has compiled historical documents about the barriers Black people have faced in Oakland when it comes to housing, from redlining to predatory loans. The group has also taken a critical look at the current housing situation in the Town, where unaffordable home prices and mass amounts of unhoused people are a constant topic of discussion. Ultimately, they’ve been imagining what people might want their hometown to look like.\u003c/p>\n\u003cfigure id=\"attachment_13958899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958899 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-800x533.jpg\" alt=\"Woman in a white dress and glasses poses for a photo outside of a warehouse. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/0-4.jpg 1854w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Brandi T. Summers stops for a photo outside of a warehouse in West Oakland. \u003ccite>(Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Brandi T. Summers, Associate Professor of Geography at UC Berkeley, tells me this isn’t your usual “archive.”\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>Based on what famed historian Howard Zinn referred to as “archival activism,” Summers says the work of the Archive of Urban Futures is to support \u003cspan style=\"font-weight: 400\">activities that directly support social justice. \u003c/span>\u003cspan style=\"font-weight: 400\">“The work to save a guy’s home is social justice and racial justice,” says Summers, referring to a clip from the short film about Moms 4 Housing titled \u003cem>Housing is a Human Right\u003c/em>, by Clara Perez. Summers explains that the footage in the film is also “an archive in teaching others how they can fight for their loved ones or even their neighbors.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Summers describes the archive as “multimodal,” explaining that this isn’t just a set of papers collecting dust in a library.\u003c/span>\u003c/p>\n\u003cp>“We’ve given community workshops and presentations at the Oakland Public Library,” says Summers. “We have a website with documents from the redlining period. Graduate students produced maps showing changes in race and class in neighborhoods, as well as environmental threats.” And she makes it clear: the purpose of the archive isn’t for the benefit of the institution, it’s for the community.\u003c/p>\n\u003cp>Summers, an African American woman who was raised in East Oakland, was hurt when she learned that upwards of\u003ca href=\"https://www.oaklandca.gov/news/alameda-county-partners-create-racial-equity-strategy-to-end-homelessness\" target=\"_blank\" rel=\"noopener\"> 70% of the unhoused people in Oakland are Black\u003c/a>. When asked to make sense of that number, especially in light of conversations about reparations and land reclamation, Summers says, “Time is a loop, it’s a circle. A lot of what we’re experiencing today might look a little different, but it’s something we’ve had in the past.”\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/3T8r_c03zLI'\n title='//www.youtube.com/embed/3T8r_c03zLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She looks back at the Great Migration of the early-to-mid 1900s, where African Americans fled the south in droves to the inner cities of the North, Midwest and West Coast in search of employment. “Black people in the Bay, in Oakland specifically, we were brought here to fulfill certain labor goals,” says Summers. She points out the \u003ca href=\"https://www.habitatebsv.org/blog/richmond-fair-housing-history\" target=\"_blank\" rel=\"noopener\">makeshift housing that was given to the workers\u003c/a> — old army barracks and even railroad cars. “There was never an intention for Black folks to have a home here. And I think that what we’re seeing today is not too far from that.”\u003c/p>\n\u003cp>Oakland is but one example of this issue, Summers says. Similar statements can be made about cities like Detroit, Baltimore and other post-industrial towns that attracted Black folks from the south nearly a century ago.\u003c/p>\n\u003cp>Broadening the conversation presents a very gloomy outlook for African Americans in this country, as a whole. But that’s why the Archive of Urban Futures urges the community to conjure up a more vibrant vision of what’s to come.\u003c/p>\n\u003cp>With an ambitious outlook, Summers says, “Black folks have a long history of taking unpleasant things and making them useful and beautiful.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Archive of Urban Futures presents \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\" target=\"_blank\" rel=\"noopener\">The Summer Institute\u003c/a> on Sunday, June 2, from 11:30 a.m.–3:30 p.m. at the Oakland Museum of California’s Lecture Hall. A catered reception follows from 4 p.m.–5 p.m. in the California Room. \u003ca href=\"https://moms4housing.ticketbud.com/auf2024summerinstitute\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958873/moms-4-housing-archive-of-urban-futures-oakland","authors":["11491"],"categories":["arts_1","arts_835"],"tags":["arts_4544","arts_22167","arts_1143","arts_21830","arts_21829"],"featImg":"arts_13958907","label":"arts"},"arts_13958910":{"type":"posts","id":"arts_13958910","meta":{"index":"posts_1716263798","site":"arts","id":"13958910","found":true},"guestAuthors":[],"slug":"the-lehman-trilogy-review-san-francisco-act","title":"‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance","publishDate":1717178730,"format":"standard","headTitle":"‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>The Lehman Trilogy\u003c/em>, which opened at A.C.T. Wednesday in San Francisco, is a three-and-a-half hour tour de force of impeccable acting talent. On Broadway, it won five Tony Awards, including Best Play. It is a thrill to watch. It will also evaporate your faith in this country’s financial system, and the willingness of theater to challenge its abuses.\u003c/p>\n\u003cp>A chronological telling of the Lehman Brothers as both a family and a company, the play opens in 1844, when Henry Lehman arrives in New York from Bavaria. Filled with reverence for the promise of America, he moves to Montgomery, Alabama, and is soon joined by his brothers Emanuel and Mayer, who help run the Lehman general store.\u003c/p>\n\u003cfigure id=\"attachment_13958916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), and Howard W. Overshown (Emanuel Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over three acts, the Lehmans serve as a proxy for a history of U.S. finance. Slavery, the Civil War, various tragedies and downturns — the Lehmans, as middlemen, find a way to profit from all of it. They go from buying and selling commodities to investing their millions into industry, technology and, ultimately, the intangible concept of investing itself. (As one character bellows: “Money is a ghost! Money is numbers! Money is air!”)\u003c/p>\n\u003cp>Every actor on stage delivers jaw-dropping performances. In \u003cem>The Lehman Trilogy\u003c/em>’s masterclass, actors John Hefferman, Aaron Krohn and Howard W. Overshown play their roles, narrate the action, occupy new characters and impersonate others, often in the same 10-second span. With exact pacing by famed director Sam Mendes, and a taut script, these are experts at their craft. The set design by Es Devlin is similarly dazzling — a plain office of boxes and furniture on a turntable, constantly and imaginatively transformed against a semicircle of projected backdrops.\u003c/p>\n\u003cfigure id=\"attachment_13958919\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), and Aaron Krohn (Mayer Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the end of each act, I had to ask myself: Where is any sort of indictment for the Lehmans’ rampant greed and exploitation?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a Horatio Alger story of the opportunity of America, \u003cem>The Lehman Trilogy\u003c/em> too often lionizes rather than criticizes the firm that played a leading role in the financial collapse and subsequent Great Recession. It jumps from the 1960s to 2008 in a short matter of minutes, skipping entirely over the Reagan era, deregulation, the repeal of the Glass-Steagall Act, adjustable rate mortgages, credit default swaps, foreclosed homes and the many who suffered and died at the hands of Wall Street run amok.\u003c/p>\n\u003cfigure id=\"attachment_13958918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), Aaron Krohn (Mayer Lehman), and John Heffernan (Henry Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I repeat: the acting is astonishing. But while the play’s final image on stage is mesmerizing, after three and a half hours of humanizing the Lehman Brothers firm, the play doesn’t present its bankruptcy and collapse as comeuppance so much as a sad loss of one family’s American dream.\u003c/p>\n\u003cp>Thousands of other families, meanwhile, would like a word.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lehman Trilogy’ runs through June 23 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/the-lehman-trilogy/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With top-notch acting, this glowing history of the global finance firm overlooks many of its abuses.","status":"publish","parent":0,"modified":1717180809,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":585},"headData":{"title":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance | KQED","description":"With top-notch acting, this glowing history of the global finance firm overlooks many of its abuses.","ogTitle":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance","ogDescription":"","ogImgId":"","twTitle":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance","twDescription":"","twImgId":"","socialTitle":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance %%page%% %%sep%% KQED","socialDescription":"With top-notch acting, this glowing history of the global finance firm overlooks many of its abuses.","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance","datePublished":"2024-05-31T11:05:30-07:00","dateModified":"2024-05-31T11:40:09-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958910","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958910/the-lehman-trilogy-review-san-francisco-act","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Lehman Trilogy\u003c/em>, which opened at A.C.T. Wednesday in San Francisco, is a three-and-a-half hour tour de force of impeccable acting talent. On Broadway, it won five Tony Awards, including Best Play. It is a thrill to watch. It will also evaporate your faith in this country’s financial system, and the willingness of theater to challenge its abuses.\u003c/p>\n\u003cp>A chronological telling of the Lehman Brothers as both a family and a company, the play opens in 1844, when Henry Lehman arrives in New York from Bavaria. Filled with reverence for the promise of America, he moves to Montgomery, Alabama, and is soon joined by his brothers Emanuel and Mayer, who help run the Lehman general store.\u003c/p>\n\u003cfigure id=\"attachment_13958916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), and Howard W. Overshown (Emanuel Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over three acts, the Lehmans serve as a proxy for a history of U.S. finance. Slavery, the Civil War, various tragedies and downturns — the Lehmans, as middlemen, find a way to profit from all of it. They go from buying and selling commodities to investing their millions into industry, technology and, ultimately, the intangible concept of investing itself. (As one character bellows: “Money is a ghost! Money is numbers! Money is air!”)\u003c/p>\n\u003cp>Every actor on stage delivers jaw-dropping performances. In \u003cem>The Lehman Trilogy\u003c/em>’s masterclass, actors John Hefferman, Aaron Krohn and Howard W. Overshown play their roles, narrate the action, occupy new characters and impersonate others, often in the same 10-second span. With exact pacing by famed director Sam Mendes, and a taut script, these are experts at their craft. The set design by Es Devlin is similarly dazzling — a plain office of boxes and furniture on a turntable, constantly and imaginatively transformed against a semicircle of projected backdrops.\u003c/p>\n\u003cfigure id=\"attachment_13958919\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), and Aaron Krohn (Mayer Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the end of each act, I had to ask myself: Where is any sort of indictment for the Lehmans’ rampant greed and exploitation?\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>As a Horatio Alger story of the opportunity of America, \u003cem>The Lehman Trilogy\u003c/em> too often lionizes rather than criticizes the firm that played a leading role in the financial collapse and subsequent Great Recession. It jumps from the 1960s to 2008 in a short matter of minutes, skipping entirely over the Reagan era, deregulation, the repeal of the Glass-Steagall Act, adjustable rate mortgages, credit default swaps, foreclosed homes and the many who suffered and died at the hands of Wall Street run amok.\u003c/p>\n\u003cfigure id=\"attachment_13958918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), Aaron Krohn (Mayer Lehman), and John Heffernan (Henry Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I repeat: the acting is astonishing. But while the play’s final image on stage is mesmerizing, after three and a half hours of humanizing the Lehman Brothers firm, the play doesn’t present its bankruptcy and collapse as comeuppance so much as a sad loss of one family’s American dream.\u003c/p>\n\u003cp>Thousands of other families, meanwhile, would like a word.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lehman Trilogy’ runs through June 23 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/the-lehman-trilogy/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958910/the-lehman-trilogy-review-san-francisco-act","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1238","arts_1175","arts_10278","arts_769","arts_22168"],"featImg":"arts_13958920","label":"arts_140"},"arts_13958734":{"type":"posts","id":"arts_13958734","meta":{"index":"posts_1716263798","site":"arts","id":"13958734","found":true},"guestAuthors":[],"slug":"sister-roma-to-lead-san-francisco-queer-history-bus-tour-for-pride-month","title":"Sister Roma to Lead San Francisco Queer History Bus Tour for Pride Month","publishDate":1716938872,"format":"standard","headTitle":"Sister Roma to Lead San Francisco Queer History Bus Tour for Pride Month | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp dir=\"ltr\">Sister Roma will lead two queer history bus tours and singalongs on June 27 as part of a month-long series of drag events celebrating San Francisco Pride.\u003c/p>\n\u003cp dir=\"ltr\">The famed Sister of Perpetual Indulgence will guide attendees on a 90-minute journey around downtown landmarks that hold queer historical significance. Later that afternoon, \u003ca href=\"https://www.instagram.com/bobbyfriday/\">Bobby Friday\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub\">D’Arcy Drollinger\u003c/a> will present performances from \u003ca href=\"https://www.kqed.org/arts/13929138/in-oakland-a-drag-fest-for-the-community-by-the-community\">Mahlae Balenciaga\u003c/a> and \u003ca href=\"https://www.instagram.com/thecarnieasada/?hl=en\">Carnie Asada\u003c/a> at \u003ca href=\"https://onemarket.com/\">One Market\u003c/a>. (Attendees also have the option of sticking around for One Market’s own drag revue and \u003ca href=\"https://onemarket.com/wp-content/uploads/2024/05/Pride_menu_web.pdf\">Pride-themed dinner\u003c/a> that night.)\u003c/p>\n\u003cp dir=\"ltr\">The June 27 celebrations will mark the grand finale of \u003ca href=\"https://downtownsf.org/do/drag-me-downtown-2024\">Drag Me Downtown\u003c/a>, a series of pop-up drag performances every Thursday in June, presented by the \u003ca href=\"https://downtownsf.org/\">Downtown SF Partnership\u003c/a>. On June 6, Harrington’s Bar and Grill will host \u003ca href=\"https://www.instagram.com/afrikaamerica/?hl=en\">Afrika America\u003c/a> and \u003ca href=\"https://www.instagram.com/oliverbranchdrag/\">Oliver Branch\u003c/a>. On the 13th, \u003ca href=\"https://www.instagram.com/tito.so.to/\">Tito Soto\u003c/a> and \u003ca href=\"https://www.instagram.com/amourateese/?hl=en\">Amoura Teese\u003c/a> will perform at PABU Izakaya. And on the 20th, \u003ca href=\"https://www.sgtdiewies.com/tyson-check-in\">Tyson Check-in\u003c/a> and \u003ca href=\"https://www.eyezen.org/kipper-snacks\">Kipper Snacks\u003c/a> will put on a show for The Third Floor at The Jay Hotel. Each event is hosted by Bobby Friday.\u003c/p>\n\u003cp dir=\"ltr\">[aside postid='arts_13930404']Though Drag Me Downtown is free to attend, those wishing to get their hands on some Pride 2024 goodies can \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-2024-tickets-902788975127?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">pre-register for $10\u003c/a>, the proceeds of which will be donated to San Francisco’s \u003ca href=\"https://www.transgenderdistrict.org/about\">Transgender District\u003c/a>. Since 2017, the cultural district has been taking steps to ensure tenant protections for Tenderloin residents, working with the city to preserve sites of LGBTQ historical significance and providing workforce development programs and other community-minded activities.\u003c/p>\n\u003cp dir=\"ltr\">“As a San Francisco native and the city’s first drag laureate,” Drollinger shared in a statement, “my goal is and will always be to celebrate and elevate the art of drag. I am thrilled that I was asked to participate in bringing some sparkle to this fabulous series.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp dir=\"ltr\">Bobby Friday added: “I can think of no better way to celebrate Pride month by showcasing the talents of Bay Area drag performers at different venues around downtown, with its rich cultural history and beautiful spaces. Here’s to another fierce and fabulous Pride month celebrating what San Francisco has always been to me — a place that accepts and loves all!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>Sister Roma will host two bus tours on \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-a-queer-history-bus-tour-and-sing-along-1-pm-tickets-912379831637?aff=erelexpmlt\">June 27, at 1 p.m\u003c/a>. and 3:30 p.m. Early bird tickets cost $17.85 while general admission is $23.18. The second tour of the day has sold out.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The June 27 tours are part of Drag Me Downtown, a series of pop-up drag performances happening throughout Pride month.","status":"publish","parent":0,"modified":1717193932,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":2,"wordCount":422},"headData":{"title":"Sister Roma to Lead LGBTQ History Tour, Singalong for SF Pride | KQED","description":"The June 27 tours are part of Drag Me Downtown, a series of pop-up drag performances happening throughout Pride month.","ogTitle":"Sister Roma to Lead San Francisco Queer History Bus Tour for Pride Month","ogDescription":"","ogImgId":"","twTitle":"Sister Roma to Lead San Francisco Queer History Bus Tour for Pride Month","twDescription":"","twImgId":"","socialTitle":"Sister Roma to Lead LGBTQ History Tour, Singalong for SF Pride %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sister Roma to Lead San Francisco Queer History Bus Tour for Pride Month","datePublished":"2024-05-28T16:27:52-07:00","dateModified":"2024-05-31T15:18:52-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958734","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958734/sister-roma-to-lead-san-francisco-queer-history-bus-tour-for-pride-month","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp dir=\"ltr\">Sister Roma will lead two queer history bus tours and singalongs on June 27 as part of a month-long series of drag events celebrating San Francisco Pride.\u003c/p>\n\u003cp dir=\"ltr\">The famed Sister of Perpetual Indulgence will guide attendees on a 90-minute journey around downtown landmarks that hold queer historical significance. Later that afternoon, \u003ca href=\"https://www.instagram.com/bobbyfriday/\">Bobby Friday\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub\">D’Arcy Drollinger\u003c/a> will present performances from \u003ca href=\"https://www.kqed.org/arts/13929138/in-oakland-a-drag-fest-for-the-community-by-the-community\">Mahlae Balenciaga\u003c/a> and \u003ca href=\"https://www.instagram.com/thecarnieasada/?hl=en\">Carnie Asada\u003c/a> at \u003ca href=\"https://onemarket.com/\">One Market\u003c/a>. (Attendees also have the option of sticking around for One Market’s own drag revue and \u003ca href=\"https://onemarket.com/wp-content/uploads/2024/05/Pride_menu_web.pdf\">Pride-themed dinner\u003c/a> that night.)\u003c/p>\n\u003cp dir=\"ltr\">The June 27 celebrations will mark the grand finale of \u003ca href=\"https://downtownsf.org/do/drag-me-downtown-2024\">Drag Me Downtown\u003c/a>, a series of pop-up drag performances every Thursday in June, presented by the \u003ca href=\"https://downtownsf.org/\">Downtown SF Partnership\u003c/a>. On June 6, Harrington’s Bar and Grill will host \u003ca href=\"https://www.instagram.com/afrikaamerica/?hl=en\">Afrika America\u003c/a> and \u003ca href=\"https://www.instagram.com/oliverbranchdrag/\">Oliver Branch\u003c/a>. On the 13th, \u003ca href=\"https://www.instagram.com/tito.so.to/\">Tito Soto\u003c/a> and \u003ca href=\"https://www.instagram.com/amourateese/?hl=en\">Amoura Teese\u003c/a> will perform at PABU Izakaya. And on the 20th, \u003ca href=\"https://www.sgtdiewies.com/tyson-check-in\">Tyson Check-in\u003c/a> and \u003ca href=\"https://www.eyezen.org/kipper-snacks\">Kipper Snacks\u003c/a> will put on a show for The Third Floor at The Jay Hotel. Each event is hosted by Bobby Friday.\u003c/p>\n\u003cp dir=\"ltr\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930404","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Though Drag Me Downtown is free to attend, those wishing to get their hands on some Pride 2024 goodies can \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-2024-tickets-902788975127?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">pre-register for $10\u003c/a>, the proceeds of which will be donated to San Francisco’s \u003ca href=\"https://www.transgenderdistrict.org/about\">Transgender District\u003c/a>. Since 2017, the cultural district has been taking steps to ensure tenant protections for Tenderloin residents, working with the city to preserve sites of LGBTQ historical significance and providing workforce development programs and other community-minded activities.\u003c/p>\n\u003cp dir=\"ltr\">“As a San Francisco native and the city’s first drag laureate,” Drollinger shared in a statement, “my goal is and will always be to celebrate and elevate the art of drag. I am thrilled that I was asked to participate in bringing some sparkle to this fabulous series.”\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 dir=\"ltr\">Bobby Friday added: “I can think of no better way to celebrate Pride month by showcasing the talents of Bay Area drag performers at different venues around downtown, with its rich cultural history and beautiful spaces. Here’s to another fierce and fabulous Pride month celebrating what San Francisco has always been to me — a place that accepts and loves all!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>Sister Roma will host two bus tours on \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-a-queer-history-bus-tour-and-sing-along-1-pm-tickets-912379831637?aff=erelexpmlt\">June 27, at 1 p.m\u003c/a>. and 3:30 p.m. Early bird tickets cost $17.85 while general admission is $23.18. The second tour of the day has sold out.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958734/sister-roma-to-lead-san-francisco-queer-history-bus-tour-for-pride-month","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_75"],"tags":["arts_1556","arts_3226","arts_5158","arts_2200","arts_585"],"featImg":"arts_13929354","label":"arts_140"},"arts_13952472":{"type":"posts","id":"arts_13952472","meta":{"index":"posts_1716263798","site":"arts","id":"13952472","found":true},"guestAuthors":[],"slug":"couchdate-oakland-community-events-music","title":"Oakland’s 'couchdate' Makes Room for Creatives to Hang and Play","publishDate":1717174819,"format":"standard","headTitle":"Oakland’s ‘couchdate’ Makes Room for Creatives to Hang and Play | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>Editor’s Note: In March 2024, couchdate founder Emmanuel Singh was evicted from the downtown warehouse space described in the original story published on KQED Arts in February. At that point, Singh and the partners he’d been working with since July 2023, Afiba Ntama and Akh Graystone, decided to part ways.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Following the eviction, Singh pivoted to a pop-up event model and is currently using a venue in downtown Oakland’s Frank Ogawa Plaza – which he hopes to secure long-term with the help of investors and community fundraising.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The change in venue has meant adapting the events offered. couchdate no longer hosts jam sessions, for example, and Singh says he is focused on it being a “Vintage Brown & Black HiFi Bar + Community Space” where his signature vinyl listening parties are a mainstay.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 23, 2024\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The album \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=PLATQ8iWXs4GzRN3wsFdKykJTUTtjNRSju\">\u003ci>\u003cspan style=\"font-weight: 400;\">Shea Butter Baby\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400;\"> by soul singer Ari Lennox came out in 2019. You can readily stream it wherever you like. Or, on this particular Friday night in January, you can go to a place called \u003c/span>\u003ca href=\"https://www.instagram.com/couchdate/?hl=en\">\u003cspan style=\"font-weight: 400;\">couchdate\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> in Downtown Oakland to listen to it in surround sound among friends and fellow music-loving strangers. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Here, your shoes are off (a house rule) as you lounge on vintage furniture or sit on one of the many patterned rugs lining the floor. Plants accent corners and shelves. The smell of incense wafts through the air. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“It almost feels like you’re sitting in a friend’s living room,” says Alexis Barnes, a couchdate visitor. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952478\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952478 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped.jpg\" alt=\"A blue-lit room filled with multiple people sitting and talking.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The early crowd at a vinyl listening party of Ari Lennox’s ‘Shea Butter Baby’ album at couchdate in Oakland on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Indeed, a couchdate Vinyl Listening Party has all the cozy wants of home with the fun of being out — stimulating conversation, maybe eye contact with a cute stranger, while the music vibrates through you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“I feel like so much Black and Brown music is just seen as entertainment or candy that’s played in your car or at the gym,” says Emmanuel Singh, couchdate’s founder. “But rarely do we take the time to sit down and engage with this art and really appreciate it and find how we can connect to it — how we can connect to each other with it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">This night with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Shea Butter Baby\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> is a hotbed of connection. A crowd of about 80 people of diverse races and gender expressions, mostly in their 20s and 30s, occupy almost every inch of the space. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952892\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952892 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shoes piled by the door at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Before the needle drops on the record (“couchdate is an analog space. There’s no digital anything here,” Singh reveals), Singh leads everyone in a welcome ritual, reminding the crowd of the conversation prompt they got when they arrived: “What would you share with someone who isn’t here anymore?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">After Singh, who grew up in San Jose, shares his own answer — “I would speak to my great-grandmother who helped raise me” — the music begins. The crowd quietly takes in the opening notes of the record. Soon, conversation bubbles up until it fills the room, along with the music. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952485 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped.jpg\" alt=\"Two people kneel in front of a small TV screen while holding video game controllers.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Joseph, left, and Estrella Allen play Nintendo 64 at a vinyl listening party at couchdate in Oakland on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Likely, new friendships are forming. “There’s many text threads and friend groups that have started here,” Singh says. “One group of people met here and last year took a trip to Italy together.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The anecdote is noteworthy, especially after the U.S. surgeon general diagnosed the country with a \u003c/span>\u003ca href=\"https://www.npr.org/2023/05/02/1173418268/loneliness-connection-mental-health-dementia-surgeon-generalamerica.html\">\u003cspan style=\"font-weight: 400;\">“loneliness epidemic,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> prompting more talk about \u003c/span>\u003ca href=\"https://www.today.com/life/inspiration/third-place-meaning-rcna94279\">\u003cspan style=\"font-weight: 400;\">the importance of third spaces\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> — where people gather and build community outside their homes and workplaces.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The inclusive, people- and culture-first philosophy of couchdate supports these bonds. (The space got its name from an actual date Singh went on with a former partner to pick up a couch. It became a turning point in them truly connecting.) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952479\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952479 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped.jpg\" alt=\"Four people pose in front of a sign that reads 'couchdate'\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, friends Akadina Yadegar, Ann Yang, Justin Marquez and Thuymy Do attend couchdate’s Vinyl Listening Party on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“couchdate highlights relevant voices. I feel like there’s so many in Oakland — so many important people, arts and messages — that don’t get heard,” says Singh.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Singh first began developing couchdate in 2019 at his former art studio in Jack London Square. Since joining forces last summer with fellow creative entrepreneurs Afiba Ntama and Akh Graystone, who co-run couchdate now, the space’s events calendar has expanded. In addition to the vinyl listening parties, which have a $15 cover, there are free, curated game nights on Wednesdays, and on Thursdays they host a jam session ($10 to hang, $5 if you come to jam). \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952884 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut.jpg\" alt='Three men stand in front a white wall that has a sign that reads \"couchdate\" on it.' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, Akh Graystone, Emmanuel Singh and Afiba Ntama of couchdate in Oakland on Jan. 18. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Ntama says couchdate fills a need for more affirming kinds of social experiences that he and others seek: “Less about partying, but [more about] connecting in genuine ways and giving room for people to express their creativity and lower their guard down.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We focus on being an oasis where there’s safety in being here,” Graystone adds.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003ch2>We’re jammin’\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Artists regularly rent the venue for public events, like photography shows or fashion pop-ups. One Thursday a month, \u003c/span>\u003ca href=\"https://www.instagram.com/couchdate/p/C3A6N5rpbK6/\">\u003cspan style=\"font-weight: 400;\">Fam Sesh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, a jam that champions queer, femme and non-binary musicians, takes over the space. After Fam Sesh took off, Singh was inspired to get a house band for couchdate and make the jam sessions weekly.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952897\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952897 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Ama Trio, led by Amarinder Singh, performs at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">For that, he reached out to \u003c/span>\u003ca href=\"https://www.instagram.com/ama.musiq/\">\u003cspan style=\"font-weight: 400;\">Amarinder Singh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, a bass player he’d connected with on Instagram. Amarinder grew up in Berkeley and describes his sound as “psychedelic Punjabi funk.” His sets, backed by a guitarist and a drummer, include original songs mixed with covers of musical greats like Herbie Hancock and Aaliyah.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">After Amarinder’s trio performs, the jam session opens up. Anyone who brought an instrument or wants to get on the mic can take the stage (really, the rug at the front of the room). Singh says anywhere from 30 to 40 musicians will pass through a given session. Amarinder says it’s a rich and rare opportunity for many local musicians, citing the loss of \u003c/span>\u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\">\u003cspan style=\"font-weight: 400;\">Spirithaus Gallery in 2020\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, a place he once frequented.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“[couchdate]’s bringing a resurgence, I’d say, of another communal space to check out and support,” Amarinder says. “We’ve had a lot of really beautiful nights in which so many people came and nobody really knew each other. So there were a lot of new connections, all due to the vibe that was created in this beautiful place.”\u003c/span>\u003c/p>\n\u003ch2>Finding community\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Melika Tabrizi, 28, says couchdate is exactly the kind of creative community she was looking for when she moved to Oakland from Maryland last March. The first night she attended a couchdate jam session, she brought a camera and was filming a bit of the scene. Singh noticed and welcomed her to come again to shoot more. They’re now working on a film project for couchdate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“It’s been interesting using my art in this space, because I didn’t expect that. It’s just a hobby of mine. And it’s nice that they are seeing my vision,” Tabrizi says. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952896\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952896 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Afi Ayanna (left) and Tiffany Austin talk together at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Chris Hall, a lawyer who lives in San Francisco, has been attending events regularly since the fall and comes back for the genuine interactions. “I feel like people present very authentically [at couchdate],” Hall says. “Listening to the music, getting to know the people you’re sitting around. You could go to a jazz club in the city, but you’re probably not going to really talk to anybody other than the people you went with.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Engaging with new people was exactly what Samantha Sherman, a 32-year-old educator, had in mind when she attended a recent game night after learning about couchdate on Instagram. Sherman moved to Oakland from San Francisco last year and is making a point to get out more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“I am very aware that we don’t have any third spaces that are easily accessible and seeking to have \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">us\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">, too,” says Sherman, who’s Black. “We kind of make third space in coffee shops and, you know, random places. But this feels like an intentional space to be a third space. So it’s really cool.”\u003c/span>\u003c/p>\n\u003ch2>‘We believe in Oakland’\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400;\">As Singh, Ntama and Graystone continue cultivating their warm, inviting oasis in Oakland, there’s no ignoring the city’s reputation is largely in the gutter right now, with \u003c/span>\u003ca href=\"https://www.cnn.com/2024/02/06/business/oakland-crime-business/index.html\">\u003cspan style=\"font-weight: 400;\">national headlines\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> calling out the surge in crime that prompted Governor Gavin Newsom \u003ca href=\"https://www.kqed.org/news/11975161/newsom-to-send-state-prosecutors-to-oakland-to-help-crack-down-on-rising-crime\">to send in reinforcements\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952891\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952891 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">But that only has the trio doubling down on their commitment. “We believe in Oakland. We believe in the future of Oakland,” Graystone says. He adds that the next phase of couchdate is a project they’ve launched called \u003c/span>\u003ca href=\"https://www.tribin.io/\">\u003cspan style=\"font-weight: 400;\">Tribin\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, which\u003c/span> \u003cspan style=\"font-weight: 400;\">aims to help local residents deepen their connections with small businesses. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“Someone has to say, ‘I’m going to stay here,’” Singh says. He admits making that commitment right now means eating some costs, which the couchdate team is willing to do for their greater, community-building mission. “This is just one example of the types of spaces we can create.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>couchdate is located at 1431 Martin Luther King Jr. Way, Oakland. \u003ca href=\"https://www.instagram.com/couchdate/?hl=en\">Upcoming events can be found on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The cozy space is building community through jam sessions, game nights and listening parties.","status":"publish","parent":0,"modified":1717182250,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1751},"headData":{"title":"Oakland’s 'couchdate' Makes Room for Creatives to Hang and Play | KQED","description":"The cozy space is building community through jam sessions, game nights and listening parties.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oakland’s 'couchdate' Makes Room for Creatives to Hang and Play","datePublished":"2024-05-31T10:00:19-07:00","dateModified":"2024-05-31T12:04:10-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/4c9c3020-9aad-4c03-ba8a-b17d014235cd/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952472/couchdate-oakland-community-events-music","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: In March 2024, couchdate founder Emmanuel Singh was evicted from the downtown warehouse space described in the original story published on KQED Arts in February. At that point, Singh and the partners he’d been working with since July 2023, Afiba Ntama and Akh Graystone, decided to part ways.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Following the eviction, Singh pivoted to a pop-up event model and is currently using a venue in downtown Oakland’s Frank Ogawa Plaza – which he hopes to secure long-term with the help of investors and community fundraising.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The change in venue has meant adapting the events offered. couchdate no longer hosts jam sessions, for example, and Singh says he is focused on it being a “Vintage Brown & Black HiFi Bar + Community Space” where his signature vinyl listening parties are a mainstay.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 23, 2024\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The album \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=PLATQ8iWXs4GzRN3wsFdKykJTUTtjNRSju\">\u003ci>\u003cspan style=\"font-weight: 400;\">Shea Butter Baby\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400;\"> by soul singer Ari Lennox came out in 2019. You can readily stream it wherever you like. Or, on this particular Friday night in January, you can go to a place called \u003c/span>\u003ca href=\"https://www.instagram.com/couchdate/?hl=en\">\u003cspan style=\"font-weight: 400;\">couchdate\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> in Downtown Oakland to listen to it in surround sound among friends and fellow music-loving strangers. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Here, your shoes are off (a house rule) as you lounge on vintage furniture or sit on one of the many patterned rugs lining the floor. Plants accent corners and shelves. The smell of incense wafts through the air. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“It almost feels like you’re sitting in a friend’s living room,” says Alexis Barnes, a couchdate visitor. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952478\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952478 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped.jpg\" alt=\"A blue-lit room filled with multiple people sitting and talking.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The early crowd at a vinyl listening party of Ari Lennox’s ‘Shea Butter Baby’ album at couchdate in Oakland on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Indeed, a couchdate Vinyl Listening Party has all the cozy wants of home with the fun of being out — stimulating conversation, maybe eye contact with a cute stranger, while the music vibrates through you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“I feel like so much Black and Brown music is just seen as entertainment or candy that’s played in your car or at the gym,” says Emmanuel Singh, couchdate’s founder. “But rarely do we take the time to sit down and engage with this art and really appreciate it and find how we can connect to it — how we can connect to each other with it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">This night with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Shea Butter Baby\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> is a hotbed of connection. A crowd of about 80 people of diverse races and gender expressions, mostly in their 20s and 30s, occupy almost every inch of the space. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952892\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952892 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shoes piled by the door at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Before the needle drops on the record (“couchdate is an analog space. There’s no digital anything here,” Singh reveals), Singh leads everyone in a welcome ritual, reminding the crowd of the conversation prompt they got when they arrived: “What would you share with someone who isn’t here anymore?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">After Singh, who grew up in San Jose, shares his own answer — “I would speak to my great-grandmother who helped raise me” — the music begins. The crowd quietly takes in the opening notes of the record. Soon, conversation bubbles up until it fills the room, along with the music. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952485 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped.jpg\" alt=\"Two people kneel in front of a small TV screen while holding video game controllers.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Joseph, left, and Estrella Allen play Nintendo 64 at a vinyl listening party at couchdate in Oakland on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Likely, new friendships are forming. “There’s many text threads and friend groups that have started here,” Singh says. “One group of people met here and last year took a trip to Italy together.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The anecdote is noteworthy, especially after the U.S. surgeon general diagnosed the country with a \u003c/span>\u003ca href=\"https://www.npr.org/2023/05/02/1173418268/loneliness-connection-mental-health-dementia-surgeon-generalamerica.html\">\u003cspan style=\"font-weight: 400;\">“loneliness epidemic,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> prompting more talk about \u003c/span>\u003ca href=\"https://www.today.com/life/inspiration/third-place-meaning-rcna94279\">\u003cspan style=\"font-weight: 400;\">the importance of third spaces\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> — where people gather and build community outside their homes and workplaces.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The inclusive, people- and culture-first philosophy of couchdate supports these bonds. (The space got its name from an actual date Singh went on with a former partner to pick up a couch. It became a turning point in them truly connecting.) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952479\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952479 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped.jpg\" alt=\"Four people pose in front of a sign that reads 'couchdate'\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, friends Akadina Yadegar, Ann Yang, Justin Marquez and Thuymy Do attend couchdate’s Vinyl Listening Party on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“couchdate highlights relevant voices. I feel like there’s so many in Oakland — so many important people, arts and messages — that don’t get heard,” says Singh.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Singh first began developing couchdate in 2019 at his former art studio in Jack London Square. Since joining forces last summer with fellow creative entrepreneurs Afiba Ntama and Akh Graystone, who co-run couchdate now, the space’s events calendar has expanded. In addition to the vinyl listening parties, which have a $15 cover, there are free, curated game nights on Wednesdays, and on Thursdays they host a jam session ($10 to hang, $5 if you come to jam). \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952884 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut.jpg\" alt='Three men stand in front a white wall that has a sign that reads \"couchdate\" on it.' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, Akh Graystone, Emmanuel Singh and Afiba Ntama of couchdate in Oakland on Jan. 18. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Ntama says couchdate fills a need for more affirming kinds of social experiences that he and others seek: “Less about partying, but [more about] connecting in genuine ways and giving room for people to express their creativity and lower their guard down.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We focus on being an oasis where there’s safety in being here,” Graystone adds.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003ch2>We’re jammin’\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Artists regularly rent the venue for public events, like photography shows or fashion pop-ups. One Thursday a month, \u003c/span>\u003ca href=\"https://www.instagram.com/couchdate/p/C3A6N5rpbK6/\">\u003cspan style=\"font-weight: 400;\">Fam Sesh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, a jam that champions queer, femme and non-binary musicians, takes over the space. After Fam Sesh took off, Singh was inspired to get a house band for couchdate and make the jam sessions weekly.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952897\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952897 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Ama Trio, led by Amarinder Singh, performs at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">For that, he reached out to \u003c/span>\u003ca href=\"https://www.instagram.com/ama.musiq/\">\u003cspan style=\"font-weight: 400;\">Amarinder Singh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, a bass player he’d connected with on Instagram. Amarinder grew up in Berkeley and describes his sound as “psychedelic Punjabi funk.” His sets, backed by a guitarist and a drummer, include original songs mixed with covers of musical greats like Herbie Hancock and Aaliyah.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">After Amarinder’s trio performs, the jam session opens up. Anyone who brought an instrument or wants to get on the mic can take the stage (really, the rug at the front of the room). Singh says anywhere from 30 to 40 musicians will pass through a given session. Amarinder says it’s a rich and rare opportunity for many local musicians, citing the loss of \u003c/span>\u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\">\u003cspan style=\"font-weight: 400;\">Spirithaus Gallery in 2020\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, a place he once frequented.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“[couchdate]’s bringing a resurgence, I’d say, of another communal space to check out and support,” Amarinder says. “We’ve had a lot of really beautiful nights in which so many people came and nobody really knew each other. So there were a lot of new connections, all due to the vibe that was created in this beautiful place.”\u003c/span>\u003c/p>\n\u003ch2>Finding community\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Melika Tabrizi, 28, says couchdate is exactly the kind of creative community she was looking for when she moved to Oakland from Maryland last March. The first night she attended a couchdate jam session, she brought a camera and was filming a bit of the scene. Singh noticed and welcomed her to come again to shoot more. They’re now working on a film project for couchdate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“It’s been interesting using my art in this space, because I didn’t expect that. It’s just a hobby of mine. And it’s nice that they are seeing my vision,” Tabrizi says. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952896\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952896 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Afi Ayanna (left) and Tiffany Austin talk together at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Chris Hall, a lawyer who lives in San Francisco, has been attending events regularly since the fall and comes back for the genuine interactions. “I feel like people present very authentically [at couchdate],” Hall says. “Listening to the music, getting to know the people you’re sitting around. You could go to a jazz club in the city, but you’re probably not going to really talk to anybody other than the people you went with.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Engaging with new people was exactly what Samantha Sherman, a 32-year-old educator, had in mind when she attended a recent game night after learning about couchdate on Instagram. Sherman moved to Oakland from San Francisco last year and is making a point to get out more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“I am very aware that we don’t have any third spaces that are easily accessible and seeking to have \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">us\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">, too,” says Sherman, who’s Black. “We kind of make third space in coffee shops and, you know, random places. But this feels like an intentional space to be a third space. So it’s really cool.”\u003c/span>\u003c/p>\n\u003ch2>‘We believe in Oakland’\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400;\">As Singh, Ntama and Graystone continue cultivating their warm, inviting oasis in Oakland, there’s no ignoring the city’s reputation is largely in the gutter right now, with \u003c/span>\u003ca href=\"https://www.cnn.com/2024/02/06/business/oakland-crime-business/index.html\">\u003cspan style=\"font-weight: 400;\">national headlines\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> calling out the surge in crime that prompted Governor Gavin Newsom \u003ca href=\"https://www.kqed.org/news/11975161/newsom-to-send-state-prosecutors-to-oakland-to-help-crack-down-on-rising-crime\">to send in reinforcements\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952891\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952891 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">But that only has the trio doubling down on their commitment. “We believe in Oakland. We believe in the future of Oakland,” Graystone says. He adds that the next phase of couchdate is a project they’ve launched called \u003c/span>\u003ca href=\"https://www.tribin.io/\">\u003cspan style=\"font-weight: 400;\">Tribin\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, which\u003c/span> \u003cspan style=\"font-weight: 400;\">aims to help local residents deepen their connections with small businesses. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“Someone has to say, ‘I’m going to stay here,’” Singh says. He admits making that commitment right now means eating some costs, which the couchdate team is willing to do for their greater, community-building mission. “This is just one example of the types of spaces we can create.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>couchdate is located at 1431 Martin Luther King Jr. Way, Oakland. \u003ca href=\"https://www.instagram.com/couchdate/?hl=en\">Upcoming events can be found on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952472/couchdate-oakland-community-events-music","authors":["11296"],"programs":["arts_17369","arts_140"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_681","arts_1143","arts_585"],"featImg":"arts_13958933","label":"arts_140"},"arts_12374448":{"type":"posts","id":"arts_12374448","meta":{"index":"posts_1716263798","site":"arts","id":"12374448","found":true},"parent":0,"labelTerm":{"site":"arts","term":1542},"blocks":[],"publishDate":1479769225,"format":"image","title":"Running the Record Plant, Part 1: The Early Years","headTitle":"Running the Record Plant, Part 1: The Early Years | KQED","content":"\u003cp>Hot tubs, water beds, sex, and drugs — all were staples of the Record Plant in Sausalito, home to some of the highest times of any Bay Area studio in the 1970s.\u003c/p>\n\u003cp>Yet there was no small amount of rock and roll too. The dozens of famous albums partially or fully recorded at the Plant in the ’70s include Sly Stone’s \u003cem>Fresh\u003c/em>, Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> and Prince’s debut album \u003cem>For You\u003c/em>. The Plant continued its reign as one of the top studios in the Bay Area into the early 21st century, through several ownership changes that, at one point, saw the federal government running the facility.\u003c/p>\n\u003cp>That wasn’t the sort of atmosphere its founders had in mind when the Record Plant opened in late 1972. After establishing himself as a top recording engineer with the likes of Jimi Hendrix and Frank Zappa, Gary Kellgren opened successful branches of the Plant in New York and Los Angeles with business partner Chris Stone before the two set their sights on Sausalito. As Raechel Donahue (who coordinated \u003ca href=\"https://www.youtube.com/watch?v=T5VI6w-NcO0\" target=\"_blank\" rel=\"noopener\">KSAN’s live-in-the-studio concerts\u003c/a> from the Plant) puts it, “They invented this idea of having a recording studio that gave everybody a comfortable place to be.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“Basically, it was a party atmosphere to record in,” says Jim Gaines, who produced and engineered records by the likes of Santana, Journey and Huey Lewis at the Plant. “They built this studio up here to go for the Bay Area bands. But not only that, bring up people from L.A. that wanted to get out of L.A. They had a hot tub in it, they had a boat at one point in time [to] take people out. The house”— where members of bands like Fleetwood Mac would stay during their Plant sessions — “was part of the package deal. And Kellgren was a party kind of guy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, when Gaines interviewed with Kellgren for a job at the Plant, “I’m shaking hands with this guy in this purple or blue Napoleon outfit. He’s got the hat on and everything. I’m thinking, ‘Do I want to work for this guy? Good lord.’ It was all about a big party for him, as well as working. He seemed to put those two together. That’s why the studio was built.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BS-EUH9tp-s\u003c/p>\n\u003cp>Gaines turned down the job in favor of staying at Wally Heider’s studio in downtown San Francisco, adding that “when Heider found out that they were coming into Sausalito, he went out and found a building. He had plans to build a studio in Mill Valley to counteract ‘em.” Notes engineer and producer Stephen Barncard, who, like Gaines, also worked sessions at both Heider’s and the Plant, “Wally had plans for a studio in Mill Valley near Tam Junction. I actually saw the plans. He was gonna get [TV and film production company] Filmways to pay for it, and when the Record Plant went in, it was over. It never happened.”\u003c/p>\n\u003cp>As just one example of the detail lavished upon the facility, recalls Gaines, “the ceiling in Studio B looked like clouds. They were made out of cut-out plywood in different forms, and covered with velveteen or velvet or something like that; they looked like clouds hanging up there. Kellgren was smart; he wanted his rooms to look different. He knew he wanted to make it artsy.”\u003c/p>\n\u003cfigure id=\"attachment_12376694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg\" alt=\"Jim Gaines at the board during a recording session at the Record Plant in Sausalito\" width=\"800\" height=\"626\" class=\"size-medium wp-image-12376694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1020x798.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Gaines at the board during a recording session at the Record Plant in the 1980s. \u003ccite>(Photo: Courtesy of Jim Gaines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Word about the Record Plant got out through its lavish opening party, as well as KSAN broadcasts of live-in-the-studio programs featuring such heavyweights as Bob Marley & the Wailers (part of whose October 1973 performance at the Plant was issued on the \u003cem>Talkin’ Blues\u003c/em> CD), Bonnie Raitt, Linda Ronstadt and Fleetwood Mac. \u003c/p>\n\u003cp>“At this time it wasn’t really common to do live broadcasts, especially from a recording studio,” explains Raechel Donahue. “When we were at KSAN, our version of a live broadcast was me and [DJ] Terry McGovern and a 100-foot microphone cord which I would feed out the window to him, so he could interview people on the street. It really was [KSAN manager] Tom [Donahue], Chris Stone, and Gary Kellgren who figured out, ‘Ah, there’s obviously a way to do this if we could only just figure this out.’”\u003c/p>\n\u003cp>KSAN kicked off its Record Plant broadcasts with a legendary 72-hour marathon. At one point during Kris Kristofferson’s performance, according to Raechel Donahue, “this wackadoodle guy came wandering through the studio singing ‘He’s a peach pit, he’s a pom pom, he’s a pervert, he’s a fool’” — bastardizing the lyric of one of Kristofferson’s most famous songs, “The Pilgrim, Chapter 33” — “and then just walked out the other door.” \u003c/p>\n\u003cfigure id=\"attachment_12376697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg\" alt=\"The Record Plant's control room, 1973\" width=\"800\" height=\"473\" class=\"size-medium wp-image-12376697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1180x697.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-960x567.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Record Plant’s control room, circa 1973. \u003ccite>(Photo: Steve Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone who was anyone was there, and they wandered in and wandered out,” Donahue said. “All I had to do was figure how to coordinate that. But that’s kind of what KSAN was all about, figuring out how to make reality blend into music. It was a crazy thing to do, but it did start the whole Record Plant live thing.” \u003c/p>\n\u003cp>It wasn’t the only craziness at KSAN broadcasts; Bob Simmons, the announcer for some of them, recalls \u003cem>Last Tango in Paris\u003c/em> star Maria Schneider “wandering around trying to get someone to get in the hot tub with her” during one.\u003c/p>\n\u003cp>The Plant soon attracted not only stars from L.A. and out of state, but also quite a few from the Bay Area itself. The setting was as vital to its appeal as the studio itself. “Heider’s was downtown in the Tenderloin,” says Gaines. “That’s a whole different concept down there. I mean, just to park your car and get to the studio without being mugged is a feat. The Record Plant, you could just walk out, and you’re only like one door from the water. Then you got some public tennis courts down the streets. When I was working with KBC Band — Marty Balin and [Jack] Casady and Paul Kantner — Marty would go down there and play tennis while we weren’t working.”\u003c/p>\n\u003cfigure id=\"attachment_12376695\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg\" alt=\"Stephen Barncard during his days at the Record Plant\" width=\"700\" height=\"458\" class=\"size-full wp-image-12376695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-520x340.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Barncard during his days at the Record Plant. \u003ccite>(Photo: Courtesy of Stephen Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio’s most famous feature, however, was on the premises, and more notorious for its, shall we say, extracurricular activities. The sunken area known as the Pit was, in Barncard’s words, “partial boudoir and studio. It’s basically for a place to do track-by-track overdubs and vocals, and then make love to your girlfriend between, in breaks over in the side.” \u003c/p>\n\u003cp>“Sly Stone moved into that back room for a while,” reports Gaines. “They had a little bedroom for him. Just a bed, with little frilly stuff over it. He wanted all of the doorknobs moved up. It’s like he was a kid or something. The doorknob couldn’t be in a regular place, it had to be like a foot higher. I finally changed that. I said, ‘Man, I can’t deal with this.’ There’s a lot more [stories], but I don’t know if I could tell some of ‘em.’”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>More stories about the Pit, the Plant, the Earthquake, and federal marshals taking over the studio are coming soon in Part Two.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1361,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":19},"modified":1705032422,"excerpt":"The first in a three-part series about the influential Record Plant recording studio in Sausalito, where Sly Stone, Stevie Wonder and others made some of their most celebrated albums.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The first in a three-part series about the influential Record Plant recording studio in Sausalito, where Sly Stone, Stevie Wonder and others made some of their most celebrated albums.","title":"Running the Record Plant, Part 1: The Early Years | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Running the Record Plant, Part 1: The Early Years","datePublished":"2016-11-21T15:00:25-08:00","dateModified":"2024-01-11T20:07:02-08:00","image":"https://ww2.kqed.org/app/uploads/sites/2/2016/11/Into-The-Mix-Record-Plant-1020x574.jpg","author":{"@type":"Person","name":"Richie Unterberger","jobTitle":"Journalist","url":"https://www.kqed.org/author/runterberger"}},"authorsData":[{"type":"authors","id":"11302","meta":{"index":"authors_1716337520","id":"11302","found":true},"name":"Richie Unterberger","firstName":"Richie","lastName":"Unterberger","slug":"runterberger","email":"richie@richieunterberger.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Richie Unterberger has written a dozen rock history books, including volumes on the Velvet Underground, the Who, and the Beatles. He teaches community education rock history courses at the College of Marin and the Fromm Institute in San Francisco. Read more of his work at www.richieunterberger.com/wordpress.","avatar":"https://secure.gravatar.com/avatar/a39c81cd6643bc782cfa0bf46a2a5a4c?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Richie Unterberger | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/a39c81cd6643bc782cfa0bf46a2a5a4c?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/a39c81cd6643bc782cfa0bf46a2a5a4c?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/runterberger"}],"imageData":{"ogImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2016/11/Into-The-Mix-Record-Plant-1020x574.jpg","width":1020,"mimeType":"image/jpeg","height":574},"ogImageWidth":"1020","ogImageHeight":"574","twitterImageUrl":"https://ww2.kqed.org/app/uploads/sites/2/2016/11/Into-The-Mix-Record-Plant-1020x574.jpg","twImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2016/11/Into-The-Mix-Record-Plant-1020x574.jpg","width":1020,"mimeType":"image/jpeg","height":574},"twitterCard":"summary_large_image"},"tagData":{"tags":["feature","featured","into-the-mix-featured","ntv"]}},"guestAuthors":[],"slug":"running-the-record-plant-part-1-the-early-years","status":"publish","sticky":false,"path":"/arts/12374448/running-the-record-plant-part-1-the-early-years","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hot tubs, water beds, sex, and drugs — all were staples of the Record Plant in Sausalito, home to some of the highest times of any Bay Area studio in the 1970s.\u003c/p>\n\u003cp>Yet there was no small amount of rock and roll too. The dozens of famous albums partially or fully recorded at the Plant in the ’70s include Sly Stone’s \u003cem>Fresh\u003c/em>, Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> and Prince’s debut album \u003cem>For You\u003c/em>. The Plant continued its reign as one of the top studios in the Bay Area into the early 21st century, through several ownership changes that, at one point, saw the federal government running the facility.\u003c/p>\n\u003cp>That wasn’t the sort of atmosphere its founders had in mind when the Record Plant opened in late 1972. After establishing himself as a top recording engineer with the likes of Jimi Hendrix and Frank Zappa, Gary Kellgren opened successful branches of the Plant in New York and Los Angeles with business partner Chris Stone before the two set their sights on Sausalito. As Raechel Donahue (who coordinated \u003ca href=\"https://www.youtube.com/watch?v=T5VI6w-NcO0\" target=\"_blank\" rel=\"noopener\">KSAN’s live-in-the-studio concerts\u003c/a> from the Plant) puts it, “They invented this idea of having a recording studio that gave everybody a comfortable place to be.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“Basically, it was a party atmosphere to record in,” says Jim Gaines, who produced and engineered records by the likes of Santana, Journey and Huey Lewis at the Plant. “They built this studio up here to go for the Bay Area bands. But not only that, bring up people from L.A. that wanted to get out of L.A. They had a hot tub in it, they had a boat at one point in time [to] take people out. The house”— where members of bands like Fleetwood Mac would stay during their Plant sessions — “was part of the package deal. And Kellgren was a party kind of guy.”\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>Indeed, when Gaines interviewed with Kellgren for a job at the Plant, “I’m shaking hands with this guy in this purple or blue Napoleon outfit. He’s got the hat on and everything. I’m thinking, ‘Do I want to work for this guy? Good lord.’ It was all about a big party for him, as well as working. He seemed to put those two together. That’s why the studio was built.”\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/BS-EUH9tp-s'\n title='//www.youtube.com/embed/BS-EUH9tp-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gaines turned down the job in favor of staying at Wally Heider’s studio in downtown San Francisco, adding that “when Heider found out that they were coming into Sausalito, he went out and found a building. He had plans to build a studio in Mill Valley to counteract ‘em.” Notes engineer and producer Stephen Barncard, who, like Gaines, also worked sessions at both Heider’s and the Plant, “Wally had plans for a studio in Mill Valley near Tam Junction. I actually saw the plans. He was gonna get [TV and film production company] Filmways to pay for it, and when the Record Plant went in, it was over. It never happened.”\u003c/p>\n\u003cp>As just one example of the detail lavished upon the facility, recalls Gaines, “the ceiling in Studio B looked like clouds. They were made out of cut-out plywood in different forms, and covered with velveteen or velvet or something like that; they looked like clouds hanging up there. Kellgren was smart; he wanted his rooms to look different. He knew he wanted to make it artsy.”\u003c/p>\n\u003cfigure id=\"attachment_12376694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg\" alt=\"Jim Gaines at the board during a recording session at the Record Plant in Sausalito\" width=\"800\" height=\"626\" class=\"size-medium wp-image-12376694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1020x798.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Gaines at the board during a recording session at the Record Plant in the 1980s. \u003ccite>(Photo: Courtesy of Jim Gaines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Word about the Record Plant got out through its lavish opening party, as well as KSAN broadcasts of live-in-the-studio programs featuring such heavyweights as Bob Marley & the Wailers (part of whose October 1973 performance at the Plant was issued on the \u003cem>Talkin’ Blues\u003c/em> CD), Bonnie Raitt, Linda Ronstadt and Fleetwood Mac. \u003c/p>\n\u003cp>“At this time it wasn’t really common to do live broadcasts, especially from a recording studio,” explains Raechel Donahue. “When we were at KSAN, our version of a live broadcast was me and [DJ] Terry McGovern and a 100-foot microphone cord which I would feed out the window to him, so he could interview people on the street. It really was [KSAN manager] Tom [Donahue], Chris Stone, and Gary Kellgren who figured out, ‘Ah, there’s obviously a way to do this if we could only just figure this out.’”\u003c/p>\n\u003cp>KSAN kicked off its Record Plant broadcasts with a legendary 72-hour marathon. At one point during Kris Kristofferson’s performance, according to Raechel Donahue, “this wackadoodle guy came wandering through the studio singing ‘He’s a peach pit, he’s a pom pom, he’s a pervert, he’s a fool’” — bastardizing the lyric of one of Kristofferson’s most famous songs, “The Pilgrim, Chapter 33” — “and then just walked out the other door.” \u003c/p>\n\u003cfigure id=\"attachment_12376697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg\" alt=\"The Record Plant's control room, 1973\" width=\"800\" height=\"473\" class=\"size-medium wp-image-12376697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1180x697.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-960x567.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Record Plant’s control room, circa 1973. \u003ccite>(Photo: Steve Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone who was anyone was there, and they wandered in and wandered out,” Donahue said. “All I had to do was figure how to coordinate that. But that’s kind of what KSAN was all about, figuring out how to make reality blend into music. It was a crazy thing to do, but it did start the whole Record Plant live thing.” \u003c/p>\n\u003cp>It wasn’t the only craziness at KSAN broadcasts; Bob Simmons, the announcer for some of them, recalls \u003cem>Last Tango in Paris\u003c/em> star Maria Schneider “wandering around trying to get someone to get in the hot tub with her” during one.\u003c/p>\n\u003cp>The Plant soon attracted not only stars from L.A. and out of state, but also quite a few from the Bay Area itself. The setting was as vital to its appeal as the studio itself. “Heider’s was downtown in the Tenderloin,” says Gaines. “That’s a whole different concept down there. I mean, just to park your car and get to the studio without being mugged is a feat. The Record Plant, you could just walk out, and you’re only like one door from the water. Then you got some public tennis courts down the streets. When I was working with KBC Band — Marty Balin and [Jack] Casady and Paul Kantner — Marty would go down there and play tennis while we weren’t working.”\u003c/p>\n\u003cfigure id=\"attachment_12376695\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg\" alt=\"Stephen Barncard during his days at the Record Plant\" width=\"700\" height=\"458\" class=\"size-full wp-image-12376695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-520x340.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Barncard during his days at the Record Plant. \u003ccite>(Photo: Courtesy of Stephen Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio’s most famous feature, however, was on the premises, and more notorious for its, shall we say, extracurricular activities. The sunken area known as the Pit was, in Barncard’s words, “partial boudoir and studio. It’s basically for a place to do track-by-track overdubs and vocals, and then make love to your girlfriend between, in breaks over in the side.” \u003c/p>\n\u003cp>“Sly Stone moved into that back room for a while,” reports Gaines. “They had a little bedroom for him. Just a bed, with little frilly stuff over it. He wanted all of the doorknobs moved up. It’s like he was a kid or something. The doorknob couldn’t be in a regular place, it had to be like a foot higher. I finally changed that. I said, ‘Man, I can’t deal with this.’ There’s a lot more [stories], but I don’t know if I could tell some of ‘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>More stories about the Pit, the Plant, the Earthquake, and federal marshals taking over the studio are coming soon in Part Two.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12374448/running-the-record-plant-part-1-the-early-years","authors":["11302"],"programs":["arts_1542"],"categories":["arts_69"],"tags":["arts_1119","arts_1118","arts_1544","arts_596"],"featImg":"arts_12374819","label":"arts_1542","isLoading":false,"hasAllInfo":true}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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