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Thomas Steinbeck, John Steinbeck's Son and a Fellow Author, Dies | KQED
Sarah Lee Guthrie, Johnny Irion, and Thomas Steinbeck perform stage announcements as part of 2008 This Land is Your Land Festival (Photo: Tim Mosenfelder/Getty Images)
Thomas Steinbeck, eldest son of Nobel Prize-winning author John Steinbeck and a prominent author and screenwriter in his own right, has died at age 72.
Stephanie Hornback of Carway Communications says The Grapes of Wrath author’s son died Thursday at his home in Santa Barbara, Calif. The cause was chronic obstructive pulmonary disease.
Steinbeck began his own career as an author relatively late in life.
His first book, Down to a Soundless Sea, a collection of short stories, was published in 2002.
He published the novels In the Shadow of the Cypress in 2010 and The Silver Lotus in 2011.
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He was working on a memoir when he died.
Steinbeck also wrote and produced several films based on his father’s books.
Copyright 2016 The Associated Press. All rights reserved.
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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"},"achazaro":{"type":"authors","id":"11748","meta":{"index":"authors_1591205172","id":"11748","found":true},"name":"Alan Chazaro","firstName":"Alan","lastName":"Chazaro","slug":"achazaro","email":"agchazaro@gmail.com","display_author_email":true,"staff_mastheads":["arts"],"title":"Food Writer and Reporter","bio":"Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.","avatar":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twitter":"alan_chazaro","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Chazaro | KQED","description":"Food Writer and Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/achazaro"},"tpham":{"type":"authors","id":"11753","meta":{"index":"authors_1591205172","id":"11753","found":true},"name":"Thien Pham","firstName":"Thien","lastName":"Pham","slug":"tpham","email":"thiendog@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":null,"avatar":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]}],"headData":{"title":"Thien Pham | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/tpham"},"kqedarts":{"type":"authors","id":"92","meta":{"index":"authors_1591205172","id":"92","found":true},"name":"KQED Arts","firstName":"KQED","lastName":"Arts","slug":"kqedarts","email":"arts@kqed.org","display_author_email":false,"staff_mastheads":[],"title":"KQED 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FM","link":"/"}},"arts_13953224":{"type":"posts","id":"arts_13953224","meta":{"index":"posts_1591205157","site":"arts","id":"13953224","found":true},"guestAuthors":[],"slug":"best-late-night-prime-rib-marin-petes-881-club-poker-room","title":"Marin County’s Best Late-Night Restaurant Is a Poker Room With $26 Prime Rib","publishDate":1709245943,"format":"aside","headTitle":"Marin County’s Best Late-Night Restaurant Is a Poker Room With $26 Prime Rib | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13953228\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953228\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2.jpg\" alt=\"Man cuts a piece of prime rib while eating at the bar; next to him, another man devours a burger.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The $26 Thursday night prime rib plate at Pete’s 881 Club is one of the hidden gems of Marin County — but the poker room’s other bar food is also well worth seeking out. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>To find the best late-night food in Marin County, you have to snake through the dimly lit, warehouse-dotted back roads of San Rafael, past the auto dealerships and the landscaping supply stores, until you pull up to a low-slung, windowless brick building.\u003c/p>\n\u003cp>This is \u003ca href=\"https://www.instagram.com/petes881club/\">Pete’s 881 Club\u003c/a>, and at first glance, the place looks like a lot of different things before you’d ever suspect it of being a notable dining destination.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13951914,arts_13952384,arts_13952823']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Most prominently, it’s a sports bar — an old-school one, in both its aesthetics and its (gracefully aging) clientele. Ten wall-mounted TVs ensure a clear view of the Warriors game from any seat in the house. Pete’s also happens to be the only legal poker room in Marin County, which accounts for the two felt-topped card tables set off to one side of the room. On any given night, you’ll find an assemblage of serious-looking Texas Hold’em players in rumpled sweatshirts and baseball caps, poring over their stacks of chips.\u003c/p>\n\u003cp>You order food at a place like this because you want something to snack on while you watch the game, or because you don’t want to drink too many PBRs on an empty stomach. But you don’t necessarily expect the food to be any good\u003ci>.\u003c/i> You certainly don’t expect a $26 prime rib that draws favorable comparisons to \u003ca href=\"https://www.youtube.com/watch?v=EkOZPxo3qPM\">House of Prime Rib\u003c/a> (at about half the price) — pink in the center, immaculately seasoned and succulently tender, with a charred crust and a streak of luscious, wobbly fat down the middle. The plate comes with horseradish cream, a big ol’ baked potato and some of the most delicious creamed spinach I’ve ever had — a super-rich version laced with bacon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The prime rib plate at Pete’s is available on Thursday nights only, and it comes with one big caveat, for the purposes of this column: Even though the kitchen stays open until at least midnight every night, the prime rib — along with the prime rib dip sandwiches the bar sells on Fridays — \u003ci>always\u003c/i> sells out early. You have to get awfully lucky to snag a plate after 9 p.m.\u003c/p>\n\u003cfigure id=\"attachment_13953230\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953230\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2.jpg\" alt=\"Exterior of a nondescript bar, with the sign for "Pete's 881 Club" above in green lettering.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pete’s is located in a sparse, warehouse-lined stretch of San Rafael. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately, the rest of the food at Pete’s is also pretty darn good. Apart from the nightly specials, the menu reads like a typical sports bar menu — burgers, wings, pizzas and the like. But everything we tried was so much better than it needed to be. Better than it had any business being, to be honest. The chicken wings? Transcendently crunchy, served with the buffalo sauce on the side for dunking. The onion rings? Flawless. Everything tasted like homemade food, not freezer food.\u003c/p>\n\u003cp>We also tried Pete’s version of a “Juicy Lucy,” a \u003ca href=\"https://www.chicagotribune.com/2022/01/14/an-ode-to-the-jucy-lucy-or-juicy-lucy-of-minneapolis-which-may-be-the-best-cheeseburger-in-america/\">Minnesotan regional specialty burger\u003c/a> in which the patty itself is stuffed with cheese — a funky blue, in this case — so that the melted cheese oozes out when you bite into it. Delightful, even if the burger had a few too many toppings for our liking.\u003c/p>\n\u003cp>While we were perusing the menu, the friendly bartender told us we’d have to come back on a Wednesday to try their famous chicken Anselmo special, a pan-fried chicken dish that comes drenched with gravy.\u003c/p>\n\u003cp>“It’s fucking bomb,” she said about that chicken, and also literally every other menu item we asked about. And you know what? She didn’t lie to us once.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://petes881club.com/\">\u003ci>Pete’s 881 \u003c/i>\u003c/a>\u003ci>\u003ca href=\"http://petes881club.com/\">Club\u003c/a> is open at 721 Lincoln Ave. in San Rafael from 10 a.m.–2 a.m. daily. The kitchen is open until 1 a.m. Thu.–Sat. and until midnight the rest of the week.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Pete’s 881 Club in San Rafael raises the ante on classic American bar food. ","status":"publish","parent":0,"modified":1709255462,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":755},"headData":{"title":"Marin County’s Best Late-Night Restaurant Is a Poker Room With $26 Prime Rib | KQED","description":"Pete’s 881 Club in San Rafael raises the ante on classic American bar food. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953224/best-late-night-prime-rib-marin-petes-881-club-poker-room","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953228\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953228\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2.jpg\" alt=\"Man cuts a piece of prime rib while eating at the bar; next to him, another man devours a burger.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/pete-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The $26 Thursday night prime rib plate at Pete’s 881 Club is one of the hidden gems of Marin County — but the poker room’s other bar food is also well worth seeking out. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>To find the best late-night food in Marin County, you have to snake through the dimly lit, warehouse-dotted back roads of San Rafael, past the auto dealerships and the landscaping supply stores, until you pull up to a low-slung, windowless brick building.\u003c/p>\n\u003cp>This is \u003ca href=\"https://www.instagram.com/petes881club/\">Pete’s 881 Club\u003c/a>, and at first glance, the place looks like a lot of different things before you’d ever suspect it of being a notable dining destination.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951914,arts_13952384,arts_13952823","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Most prominently, it’s a sports bar — an old-school one, in both its aesthetics and its (gracefully aging) clientele. Ten wall-mounted TVs ensure a clear view of the Warriors game from any seat in the house. Pete’s also happens to be the only legal poker room in Marin County, which accounts for the two felt-topped card tables set off to one side of the room. On any given night, you’ll find an assemblage of serious-looking Texas Hold’em players in rumpled sweatshirts and baseball caps, poring over their stacks of chips.\u003c/p>\n\u003cp>You order food at a place like this because you want something to snack on while you watch the game, or because you don’t want to drink too many PBRs on an empty stomach. But you don’t necessarily expect the food to be any good\u003ci>.\u003c/i> You certainly don’t expect a $26 prime rib that draws favorable comparisons to \u003ca href=\"https://www.youtube.com/watch?v=EkOZPxo3qPM\">House of Prime Rib\u003c/a> (at about half the price) — pink in the center, immaculately seasoned and succulently tender, with a charred crust and a streak of luscious, wobbly fat down the middle. The plate comes with horseradish cream, a big ol’ baked potato and some of the most delicious creamed spinach I’ve ever had — a super-rich version laced with bacon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The prime rib plate at Pete’s is available on Thursday nights only, and it comes with one big caveat, for the purposes of this column: Even though the kitchen stays open until at least midnight every night, the prime rib — along with the prime rib dip sandwiches the bar sells on Fridays — \u003ci>always\u003c/i> sells out early. You have to get awfully lucky to snag a plate after 9 p.m.\u003c/p>\n\u003cfigure id=\"attachment_13953230\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953230\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2.jpg\" alt=\"Exterior of a nondescript bar, with the sign for "Pete's 881 Club" above in green lettering.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Petes-2-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pete’s is located in a sparse, warehouse-lined stretch of San Rafael. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately, the rest of the food at Pete’s is also pretty darn good. Apart from the nightly specials, the menu reads like a typical sports bar menu — burgers, wings, pizzas and the like. But everything we tried was so much better than it needed to be. Better than it had any business being, to be honest. The chicken wings? Transcendently crunchy, served with the buffalo sauce on the side for dunking. The onion rings? Flawless. Everything tasted like homemade food, not freezer food.\u003c/p>\n\u003cp>We also tried Pete’s version of a “Juicy Lucy,” a \u003ca href=\"https://www.chicagotribune.com/2022/01/14/an-ode-to-the-jucy-lucy-or-juicy-lucy-of-minneapolis-which-may-be-the-best-cheeseburger-in-america/\">Minnesotan regional specialty burger\u003c/a> in which the patty itself is stuffed with cheese — a funky blue, in this case — so that the melted cheese oozes out when you bite into it. Delightful, even if the burger had a few too many toppings for our liking.\u003c/p>\n\u003cp>While we were perusing the menu, the friendly bartender told us we’d have to come back on a Wednesday to try their famous chicken Anselmo special, a pan-fried chicken dish that comes drenched with gravy.\u003c/p>\n\u003cp>“It’s fucking bomb,” she said about that chicken, and also literally every other menu item we asked about. And you know what? She didn’t lie to us once.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://petes881club.com/\">\u003ci>Pete’s 881 \u003c/i>\u003c/a>\u003ci>\u003ca href=\"http://petes881club.com/\">Club\u003c/a> is open at 721 Lincoln Ave. in San Rafael from 10 a.m.–2 a.m. daily. The kitchen is open until 1 a.m. Thu.–Sat. and until midnight the rest of the week.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953224/best-late-night-prime-rib-marin-petes-881-club-poker-room","authors":["11743","11753"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_1297","arts_8805","arts_11661","arts_3595","arts_21928"],"featImg":"arts_13953226","label":"source_arts_13953224"},"arts_13953137":{"type":"posts","id":"arts_13953137","meta":{"index":"posts_1591205157","site":"arts","id":"13953137","found":true},"guestAuthors":[],"slug":"live-review-madonna-gives-a-master-class-in-eras-in-san-francisco","title":"Live Review: Madonna Gives a Master Class in ‘Eras’ in San Francisco","publishDate":1709153166,"format":"standard","headTitle":"Live Review: Madonna Gives a Master Class in ‘Eras’ in San Francisco | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Let’s get this out of the way: She looked great. Sure, we could talk about Madonna’s face — about how we require aesthetic perfection from women, demand they stay frozen in amber after 40, then become cruel if they try \u003cem>too\u003c/em> hard to maintain the appearance that’s tied to their economic and cultural value — but it’s actually the least interesting thing about her. And if that’s what you wanna talk about, you clearly were not at her Celebration Tour at Chase Center in San Francisco on Tuesday night, because if you were, the only thing you would say about Madonna’s appearance is: Bitch looked \u003cem>great\u003c/em>.\u003c/p>\n\u003cp>Even more impressive? This show was rescheduled from October, because the whole Celebration Tour was postponed for six months after a bacterial infection put Madonna in a medically induced coma for several days. Then she got better, got back to rehearsals and went on the damn tour, because she’s Madonna.\u003c/p>\n\u003cfigure id=\"attachment_13953149\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-scaled.jpg\" alt=\"a young Black man and an older blonde woman stand side by side on a stage with guitars in western gear\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Madonna and her son David Banda perform during The Celebration Tour at The O2 Arena in London on Oct. 15, 2023. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We honor our mothers, always, don’t we? They gave us life. No matter what, we honor our mothers. Even if they’re motherfuckers!” said the 65-year-old pop star, clad in a leather corset, cowboy hat and fishnets, as the stadium full of people in sparkles, leather and fishnets roared back at her. This was about 90 minutes into a two-hour-and-15 minute set that careened sonically, visually and not-quite-chronologically across her four decades in show business — all for the cumulative effect of a sometimes unintentionally funny but nonetheless captivating musical about Madonna’s life, written, directed and produced by (and of course starring) Madonna.[aside postID='arts_13812867']\u003c/p>\n\u003cp>This show had everything: Versace bodysuits; a voguing competition; athletic and scantily clad dancers; Bob the Drag Queen; vaguely Y2K screensaver-esque visuals; Prince and Michael Jackson tributes; an abridged but otherwise transcendent version of “Like a Prayer” flanked by rotating neon crosses; and charming appearances by three of Madonna’s musically talented children (her youngest, voguing in a Versace bodysuit, natch). There was also such a high volume of pop culture references, delivered at such a frenetic clip, that when images of Che Guevara and James Baldwin flashed on screen amid clips of Cher and Ariana Grande sometime near the finale, I kinda just went “Sure, that makes sense.”\u003c/p>\n\u003cfigure id=\"attachment_13953148\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-scaled.jpg\" alt=\"four people in sparkly outfits pose and vogue during a stadium show\" width=\"2560\" height=\"1750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-1920x1313.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bob the Drag Queen and Madonna’s daughter Estere perform during “Vogue” at Madonna’s Celebration Tour show in New York. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you wanna talk “eras,” you have to talk about Madonna, who has — unlike some artists who use the word to describe album cycles — actually reinvented herself a dozen times over the course of 40 years. Back in the “mother” era of the show, as it were, she’d just performed “Mother and Father” with her son, guitarist David Banda, in front of giant photos of both their biological mothers.\u003c/p>\n\u003cp>“And as a mother, I want to say a prayer for peace for the children of the world who are being killed, kidnapped, hurt, harmed, the list goes on,” said Madonna. After imploring the crowd to “do the research, learn the history…not just pick sides and call names,” she told us to turn our phone flashlights on, then led us in a stripped down sing-along of “Express Yourself,” her voice strong and unencumbered without a backing track. Four minutes later we were transported to “La Isla Bonita.” Tropical island breeze, all of nature wild and free, you know the one.\u003c/p>\n\u003cfigure id=\"attachment_13953140\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-scaled.jpg\" alt=\"a blond woman performs on a rotating stage in a stadium with dancers\" width=\"2560\" height=\"1546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-1020x616.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-1536x928.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-2048x1237.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-1920x1160.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Madonna performs during The Celebration Tour at Barclays Center in New York on Dec. 14, 2023. The pop star performed at Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the tonal shift seemed abrupt, well, Madonna had a lot of career left to pack in. As she reminded us over the course of seven musical “acts” about her life, Madonna has not just courted controversy over her four decades in the spotlight; she drew the blueprint for making a career of it. In the ’80s and ’90s, she challenged societal norms by expressing female sexuality in a way that made enemies out of the Catholic Church, Tipper Gore’s \u003ca href=\"https://www.kqed.org/pop/18111/the-tipper-sticker-at-30-the-most-entertaining-and-least-effective-attempt-at-censorship-in-rock-history\">Parents Music Resource Center\u003c/a> and countless other arbiters of so-called family values. (In one of several between-song skits with her dancers, she dramatized her 1990 near-arrest by Toronto police for simulating masturbation onstage while performing “Like a Virgin.”)\u003c/p>\n\u003cp>Since the aughts, as Madonna herself noted in a voice-over during a montage of outraged headlines, she’s battled ageism along with misogyny: “The most controversial thing I’ve ever done is stick around.” I think that’s probably true. And yet… at some point, after I lost count of how many times she seemed to be visually likening herself to Jesus, I wrote in my notes that “Madonna is always being persecuted!!!?” Which is, frankly, a hilarious framing for someone worth an estimated $850 million, with seven Grammys and two Golden Globes, who was recently re-certified by the Guiness Book of World Records as the reigning \u003cem>best-selling female artist of all time.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13953164\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953164\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut.jpg\" alt=\"jeans with pictures of Madonna on them\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fan Heather Breiling wears Madonna pants while attending the Madonna Celebration Tour concert at Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of the dissonance, surely, is that pop has evolved since Madonna helped build MTV with shock value, and some of what made her a visionary now seems tame: “Like a Virgin” no longer ruffles feathers in a world with “WAP.” One could argue that’s what happens when visionaries are successful at pushing culture forward — what was once rule-breaking becomes the industry standard.\u003c/p>\n\u003cp>What is undeniable is just how much she still means to people. Specifically, to the LGBTQ community — to whom Madonna has been an outspoken ally since before the word “ally” was part of our lexicon — and who showed up and showed out last night in style. Local legends from the queer community were everywhere, if you looked, including Sister Roma, Peaches Christ, Honey Mahogany and more.\u003c/p>\n\u003cfigure id=\"attachment_13953144\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953144\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut.jpg\" alt=\"a drag performer in white makeup and a purple wig poses in front of a sign reading Madonna the celebration tour\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sister Roma poses before the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It made sense, then, when the most genuinely moving moment of the show arrived with a tribute to people who died from AIDS, introduced as an ecstatic performance of “Holiday” drew to a close. The backing track suddenly sounded like a warped record as one of Madonna’s dancers slowly collapsed on the rotating stage. The singer bent to check his pulse, and draped her coat over his body before they both sank into the floor.\u003c/p>\n\u003cfigure id=\"attachment_13953151\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-scaled.jpg\" alt=\"a tribute to people who have died from AIDS\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A tribute to people who died from AIDS during Madonna’s Celebration Tour at The O2 Arena in London on Oct.14, 2023. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, as she traversed the stadium in an aerial box performing “Live to Tell,” massive screens began to show black and white photos of Keith Haring, Martin Burgoyne, Alvin Ailey, Arthur Ashe, Freddie Mercury and more, until there were hundreds of tiny photos surrounding us, willing us, here in a city whose gay community was devastated by the AIDS crisis, to look each one of them in the eye.\u003c/p>\n\u003cp>Madonna has built a career out of pushing forward, and has until now eschewed the idea of a “greatest hits” show, which I’ve always respected. But that moment alone lifted the exercise out of the ordinary, for me. It was the kind of thing that could only really be pulled off, one might say, by someone who’s had the audacity to stick around.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Madonna performs again tonight, Wednesday, Feb. 28, at Chase Center in San Francisco. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The pop star’s captivating show at Chase Center careened through four decades of music and controversy.","status":"publish","parent":0,"modified":1709254447,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1399},"headData":{"title":"Live Review: Madonna Gives a Master Class in ‘Eras’ in San Francisco | KQED","description":"The pop star’s captivating show at Chase Center careened through four decades of music and controversy.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953137/live-review-madonna-gives-a-master-class-in-eras-in-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way: She looked great. Sure, we could talk about Madonna’s face — about how we require aesthetic perfection from women, demand they stay frozen in amber after 40, then become cruel if they try \u003cem>too\u003c/em> hard to maintain the appearance that’s tied to their economic and cultural value — but it’s actually the least interesting thing about her. And if that’s what you wanna talk about, you clearly were not at her Celebration Tour at Chase Center in San Francisco on Tuesday night, because if you were, the only thing you would say about Madonna’s appearance is: Bitch looked \u003cem>great\u003c/em>.\u003c/p>\n\u003cp>Even more impressive? This show was rescheduled from October, because the whole Celebration Tour was postponed for six months after a bacterial infection put Madonna in a medically induced coma for several days. Then she got better, got back to rehearsals and went on the damn tour, because she’s Madonna.\u003c/p>\n\u003cfigure id=\"attachment_13953149\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-scaled.jpg\" alt=\"a young Black man and an older blonde woman stand side by side on a stage with guitars in western gear\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1739697593-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Madonna and her son David Banda perform during The Celebration Tour at The O2 Arena in London on Oct. 15, 2023. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We honor our mothers, always, don’t we? They gave us life. No matter what, we honor our mothers. Even if they’re motherfuckers!” said the 65-year-old pop star, clad in a leather corset, cowboy hat and fishnets, as the stadium full of people in sparkles, leather and fishnets roared back at her. This was about 90 minutes into a two-hour-and-15 minute set that careened sonically, visually and not-quite-chronologically across her four decades in show business — all for the cumulative effect of a sometimes unintentionally funny but nonetheless captivating musical about Madonna’s life, written, directed and produced by (and of course starring) Madonna.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13812867","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This show had everything: Versace bodysuits; a voguing competition; athletic and scantily clad dancers; Bob the Drag Queen; vaguely Y2K screensaver-esque visuals; Prince and Michael Jackson tributes; an abridged but otherwise transcendent version of “Like a Prayer” flanked by rotating neon crosses; and charming appearances by three of Madonna’s musically talented children (her youngest, voguing in a Versace bodysuit, natch). There was also such a high volume of pop culture references, delivered at such a frenetic clip, that when images of Che Guevara and James Baldwin flashed on screen amid clips of Cher and Ariana Grande sometime near the finale, I kinda just went “Sure, that makes sense.”\u003c/p>\n\u003cfigure id=\"attachment_13953148\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-scaled.jpg\" alt=\"four people in sparkly outfits pose and vogue during a stadium show\" width=\"2560\" height=\"1750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-6-1920x1313.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bob the Drag Queen and Madonna’s daughter Estere perform during “Vogue” at Madonna’s Celebration Tour show in New York. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you wanna talk “eras,” you have to talk about Madonna, who has — unlike some artists who use the word to describe album cycles — actually reinvented herself a dozen times over the course of 40 years. Back in the “mother” era of the show, as it were, she’d just performed “Mother and Father” with her son, guitarist David Banda, in front of giant photos of both their biological mothers.\u003c/p>\n\u003cp>“And as a mother, I want to say a prayer for peace for the children of the world who are being killed, kidnapped, hurt, harmed, the list goes on,” said Madonna. After imploring the crowd to “do the research, learn the history…not just pick sides and call names,” she told us to turn our phone flashlights on, then led us in a stripped down sing-along of “Express Yourself,” her voice strong and unencumbered without a backing track. Four minutes later we were transported to “La Isla Bonita.” Tropical island breeze, all of nature wild and free, you know the one.\u003c/p>\n\u003cfigure id=\"attachment_13953140\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-scaled.jpg\" alt=\"a blond woman performs on a rotating stage in a stadium with dancers\" width=\"2560\" height=\"1546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-1020x616.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-1536x928.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-2048x1237.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Getty-Images-_-Kevin-Mazur-8-1920x1160.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Madonna performs during The Celebration Tour at Barclays Center in New York on Dec. 14, 2023. The pop star performed at Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the tonal shift seemed abrupt, well, Madonna had a lot of career left to pack in. As she reminded us over the course of seven musical “acts” about her life, Madonna has not just courted controversy over her four decades in the spotlight; she drew the blueprint for making a career of it. In the ’80s and ’90s, she challenged societal norms by expressing female sexuality in a way that made enemies out of the Catholic Church, Tipper Gore’s \u003ca href=\"https://www.kqed.org/pop/18111/the-tipper-sticker-at-30-the-most-entertaining-and-least-effective-attempt-at-censorship-in-rock-history\">Parents Music Resource Center\u003c/a> and countless other arbiters of so-called family values. (In one of several between-song skits with her dancers, she dramatized her 1990 near-arrest by Toronto police for simulating masturbation onstage while performing “Like a Virgin.”)\u003c/p>\n\u003cp>Since the aughts, as Madonna herself noted in a voice-over during a montage of outraged headlines, she’s battled ageism along with misogyny: “The most controversial thing I’ve ever done is stick around.” I think that’s probably true. And yet… at some point, after I lost count of how many times she seemed to be visually likening herself to Jesus, I wrote in my notes that “Madonna is always being persecuted!!!?” Which is, frankly, a hilarious framing for someone worth an estimated $850 million, with seven Grammys and two Golden Globes, who was recently re-certified by the Guiness Book of World Records as the reigning \u003cem>best-selling female artist of all time.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13953164\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953164\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut.jpg\" alt=\"jeans with pictures of Madonna on them\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-27-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fan Heather Breiling wears Madonna pants while attending the Madonna Celebration Tour concert at Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of the dissonance, surely, is that pop has evolved since Madonna helped build MTV with shock value, and some of what made her a visionary now seems tame: “Like a Virgin” no longer ruffles feathers in a world with “WAP.” One could argue that’s what happens when visionaries are successful at pushing culture forward — what was once rule-breaking becomes the industry standard.\u003c/p>\n\u003cp>What is undeniable is just how much she still means to people. Specifically, to the LGBTQ community — to whom Madonna has been an outspoken ally since before the word “ally” was part of our lexicon — and who showed up and showed out last night in style. Local legends from the queer community were everywhere, if you looked, including Sister Roma, Peaches Christ, Honey Mahogany and more.\u003c/p>\n\u003cfigure id=\"attachment_13953144\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953144\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut.jpg\" alt=\"a drag performer in white makeup and a purple wig poses in front of a sign reading Madonna the celebration tour\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240227-MadonnaFans-09-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sister Roma poses before the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It made sense, then, when the most genuinely moving moment of the show arrived with a tribute to people who died from AIDS, introduced as an ecstatic performance of “Holiday” drew to a close. The backing track suddenly sounded like a warped record as one of Madonna’s dancers slowly collapsed on the rotating stage. The singer bent to check his pulse, and draped her coat over his body before they both sank into the floor.\u003c/p>\n\u003cfigure id=\"attachment_13953151\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-scaled.jpg\" alt=\"a tribute to people who have died from AIDS\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1736271119-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A tribute to people who died from AIDS during Madonna’s Celebration Tour at The O2 Arena in London on Oct.14, 2023. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, as she traversed the stadium in an aerial box performing “Live to Tell,” massive screens began to show black and white photos of Keith Haring, Martin Burgoyne, Alvin Ailey, Arthur Ashe, Freddie Mercury and more, until there were hundreds of tiny photos surrounding us, willing us, here in a city whose gay community was devastated by the AIDS crisis, to look each one of them in the eye.\u003c/p>\n\u003cp>Madonna has built a career out of pushing forward, and has until now eschewed the idea of a “greatest hits” show, which I’ve always respected. But that moment alone lifted the exercise out of the ordinary, for me. It was the kind of thing that could only really be pulled off, one might say, by someone who’s had the audacity to stick around.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Madonna performs again tonight, Wednesday, Feb. 28, at Chase Center in San Francisco. \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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953137/live-review-madonna-gives-a-master-class-in-eras-in-san-francisco","authors":["7237"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_10342","arts_10278","arts_21808","arts_8572"],"featImg":"arts_13953153","label":"arts"},"arts_13953284":{"type":"posts","id":"arts_13953284","meta":{"index":"posts_1591205157","site":"arts","id":"13953284","found":true},"guestAuthors":[],"slug":"nicki-minaj-review-oakland-arena-pink-friday-2-tour","title":"Live Review: Nicki Minaj Reclaims Her Crown at Tour Kickoff in Oakland","publishDate":1709412130,"format":"aside","headTitle":"Live Review: Nicki Minaj Reclaims Her Crown at Tour Kickoff in Oakland | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13953285\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg\" alt=\"a woman in a silvery bodysuit smiles on stage with a microphone in a big arena with pink and purple lighting behind her\" width=\"2560\" height=\"1797\" class=\"size-full wp-image-13953285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1920x1348.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’d be right to have worried that the first show of Nicki Minaj’s Pink Friday 2 tour in Oakland on Friday might be, well, a mess.\u003c/p>\n\u003cp>Known more for controversies and \u003ca href=\"https://variety.com/2024/music/news/nicki-minaj-megan-thee-stallion-feud-timeline-1235890487/\">feuds\u003c/a> in recent years than the immense talent that once made her the world’s most feared rapper, Nicki Minaj victoriously spent two hours at her tour kickoff reminding a sold-out Oakland Arena that she still sings, raps, dances and brings the heat.\u003c/p>\n\u003cfigure id=\"attachment_13953290\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Feelin’ Myself’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>This was clear right from the start of the show, when Nicki rose from below the stage rapping with noticeable vigor on the throwback opener “I’m the Best” (key line: “Which world tour should I go on today?”). In one moment, all the \u003ca href=\"https://twitter.com/NICKIMINAJ/status/1751290347957911700\">Ben Shapiro tweets\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/09/14/nicki-minaj-covid-19-vaccine-conspiracy/\">COVID conspiracies\u003c/a>, irredeemable \u003ca href=\"https://www.reddit.com/r/rateyourmusic/comments/1aeyxcl/nicki_minajs_bigfoot_is_now_the_second_lowest/\">diss tracks\u003c/a> and \u003ca href=\"https://www.instagram.com/p/C3jycgCO7ih/\">scattered whisper-rambles on Instagram Live\u003c/a> became distant memories. She was not here to play. \u003c/p>\n\u003cp>We are talking about a \u003ca href=\"https://www.setlist.fm/setlist/nicki-minaj/2024/oakland-arena-oakland-ca-53ad7bb5.html\">36-song setlist\u003c/a>, with smash hits and deep cuts alike. Six costume changes, robot dancers, a subway train, phone booths for her different alter egos. Lots of simulated copulation — group, duo and solo. Nicki, at age 41, coming for vengeance on workouts like “Roman’s Revenge,” and showing off her vocals on “Save Me.” And, just three months after being released, Nicki’s new songs from \u003cem>Pink Friday 2\u003c/em> — a smoldering “Big Difference,” set closer “Everybody” — coming off like classics. \u003c/p>\n\u003cfigure id=\"attachment_13953294\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>What’s evident is Nicki is \u003cem>hungry\u003c/em> again. Maybe the competition got to her, and she upped her game. Maybe it was always in hiding. While she performed, I found myself wondering if her whole meandering, is-she-on-drugs-or-isn’t-she thing of late has been an elaborate psy-op to hide intense training and rehearsal. Whatever happened, it’s resulted in her giving 100% again. The show (“this magical historic night,” Nicki declared) recalled the first time I saw her headline the Bay Area, \u003ca href=\"https://bohemian.com/live-review-nicki-minaj-at-the-paramount-theater-oakland/\">in 2012 at the Paramount Theatre\u003c/a> — how unstoppable she seemed then, how she gave her all to the crowd. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There have been rough patches in the interim, to be sure. Bay Area fans may remember a fraught Concord Pavilion show in 2015 that suffered from beleaguered choreography and a strange detachment that seemed concerning, especially after \u003cem>The Pinkprint\u003c/em>’s multiple references to Percocet. The show ended with a \u003ca href=\"https://www.vibe.com/music/music-news/nicki-minaj-concert-brawl-video-369856/\">giant brawl in the crowd\u003c/a>; as I left I saw one guy \u003ca href=\"https://twitter.com/gmeline/status/632463878668943360\">face-down, knocked out\u003c/a>. The vibes, as they say, were off.\u003c/p>\n\u003cfigure id=\"attachment_13953293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Friday night, fans got the old Nicki. And not just with older deep cuts like “Favorite” and “Win Again,” which roused diehards but caused the overall energy to dip. One of the show’s early peaks was “FTCU,” and the modern phenomenon of an arena screaming the \u003ca href=\"https://www.tiktok.com/tag/ftcu?lang=en\">30 seconds of a song that are famous on TikTok\u003c/a>.\u003c/p>\n\u003cp>The inspirational Nicki showed up too, during “The Night Is Still Young.” “I wanna tell you guys something right now,” she said. “No matter what is happening right now outside of Gag City, inside here, we are radiating positivity, success, prosperity, intelligence and wisdom” — later telling her audience, many clad in in sequined skirts, pink wigs, fuzzy hats and platform heels, “You still have time to do what you have to do! Don’t waste a minute of your life! Promise me that!” \u003c/p>\n\u003cfigure id=\"attachment_13953295\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Cowgirl’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Fans also got the sex-positive Nicki. After a costume change into a basketball jersey-inspired yellow dress and boxing hoodie, Nicki did her best impression of Prince’s “Darling Nikki” upon the stage floor, complete with 90-degree leg lifts and a strategically positioned microphone. Cue the Beyoncé duet “Feelin’ Myself,” followed by undulating with three leather-clad beefcakes on steel beds (“Cowgirl”) and a straight-up face sit (“RNB”). \u003c/p>\n\u003cp>Provocative? Sure. But she knows what she’s doing. Nicki is hyper-aware of the meta narratives around her every move — and I’m not sure that’s always a good thing. As a longtime fan, part of my hesitation about this tour is that she’s seemed less interested in being the world’s greatest rapper, and more interested in \u003cem>hearing people say\u003c/em> she’s the world’s greatest rapper. It’s been giving self-doubt, and made me hear her music as telegraphing “greatness” instead of embodying it.\u003c/p>\n\u003cfigure id=\"attachment_13953291\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Red Ruby da Sleeze’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>But if anyone’s earned the right to rest on her laurels, it’s Nicki. You can hear her carefree flamboyance in Doja Cat, her winking humor in Cardi B, her boss-bitch confidence in — yes — Megan Thee Stallion. But primarily, 24 years into her career, Nicki’s influence is in the fact we are talking about any of these talented women at all.\u003c/p>\n\u003cp>It is really, really hard to convey to younger fans the unfair reality in which we lived, for years, that allowed for one and only one female rapper at a time. Nicki blew that notion apart. With her many alter egos and endless flows, she paved a multitude of ways for women to make their mark in the industry. On Friday, she also let \u003ca href=\"https://twitter.com/BARIJUKU/status/1763827847473635820\">national treasure Monica\u003c/a> perform a simmering set of a half-dozen songs during her headlining set, rather than making her open to a half-full arena.\u003c/p>\n\u003cfigure id=\"attachment_13953292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘FTCU’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>During the show, I thought of the prom scene in \u003cem>Mean Girls\u003c/em>, where Cady Heron hands out pieces of her crown to the other girls at school. That’s what Nicki did. I don’t think she really wants the crown back. She just wants people to know where it came from. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>During her joyous finale in Oakland — with favorites “Moment for Life,” “Starships” and the eternal “Super Bass” — she made a convincing closing argument for that fact. This jury’s verdict is in: Nicki’s resurrected herself. \u003c/p>\n\n","blocks":[],"excerpt":"Forget what you've heard. In a revelatory two-hour set, Nicki Minaj proved she’s hungry again.","status":"publish","parent":0,"modified":1709451095,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1217},"headData":{"title":"Live Review: Nicki Minaj Reclaims Her Crown at Tour Kickoff in Oakland | KQED","description":"Forget what you've heard. In a revelatory two-hour set, Nicki Minaj proved she’s hungry again.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Live Review: Nicki Minaj Reclaims Her Crown at Tour Kickoff in Oakland %%page%% %%sep%% KQED","socialDescription":"Forget what you've heard. In a revelatory two-hour set, Nicki Minaj proved she’s hungry again."},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953285\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg\" alt=\"a woman in a silvery bodysuit smiles on stage with a microphone in a big arena with pink and purple lighting behind her\" width=\"2560\" height=\"1797\" class=\"size-full wp-image-13953285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1920x1348.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’d be right to have worried that the first show of Nicki Minaj’s Pink Friday 2 tour in Oakland on Friday might be, well, a mess.\u003c/p>\n\u003cp>Known more for controversies and \u003ca href=\"https://variety.com/2024/music/news/nicki-minaj-megan-thee-stallion-feud-timeline-1235890487/\">feuds\u003c/a> in recent years than the immense talent that once made her the world’s most feared rapper, Nicki Minaj victoriously spent two hours at her tour kickoff reminding a sold-out Oakland Arena that she still sings, raps, dances and brings the heat.\u003c/p>\n\u003cfigure id=\"attachment_13953290\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Feelin’ Myself’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>This was clear right from the start of the show, when Nicki rose from below the stage rapping with noticeable vigor on the throwback opener “I’m the Best” (key line: “Which world tour should I go on today?”). In one moment, all the \u003ca href=\"https://twitter.com/NICKIMINAJ/status/1751290347957911700\">Ben Shapiro tweets\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/09/14/nicki-minaj-covid-19-vaccine-conspiracy/\">COVID conspiracies\u003c/a>, irredeemable \u003ca href=\"https://www.reddit.com/r/rateyourmusic/comments/1aeyxcl/nicki_minajs_bigfoot_is_now_the_second_lowest/\">diss tracks\u003c/a> and \u003ca href=\"https://www.instagram.com/p/C3jycgCO7ih/\">scattered whisper-rambles on Instagram Live\u003c/a> became distant memories. She was not here to play. \u003c/p>\n\u003cp>We are talking about a \u003ca href=\"https://www.setlist.fm/setlist/nicki-minaj/2024/oakland-arena-oakland-ca-53ad7bb5.html\">36-song setlist\u003c/a>, with smash hits and deep cuts alike. Six costume changes, robot dancers, a subway train, phone booths for her different alter egos. Lots of simulated copulation — group, duo and solo. Nicki, at age 41, coming for vengeance on workouts like “Roman’s Revenge,” and showing off her vocals on “Save Me.” And, just three months after being released, Nicki’s new songs from \u003cem>Pink Friday 2\u003c/em> — a smoldering “Big Difference,” set closer “Everybody” — coming off like classics. \u003c/p>\n\u003cfigure id=\"attachment_13953294\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>What’s evident is Nicki is \u003cem>hungry\u003c/em> again. Maybe the competition got to her, and she upped her game. Maybe it was always in hiding. While she performed, I found myself wondering if her whole meandering, is-she-on-drugs-or-isn’t-she thing of late has been an elaborate psy-op to hide intense training and rehearsal. Whatever happened, it’s resulted in her giving 100% again. The show (“this magical historic night,” Nicki declared) recalled the first time I saw her headline the Bay Area, \u003ca href=\"https://bohemian.com/live-review-nicki-minaj-at-the-paramount-theater-oakland/\">in 2012 at the Paramount Theatre\u003c/a> — how unstoppable she seemed then, how she gave her all to the crowd. \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>There have been rough patches in the interim, to be sure. Bay Area fans may remember a fraught Concord Pavilion show in 2015 that suffered from beleaguered choreography and a strange detachment that seemed concerning, especially after \u003cem>The Pinkprint\u003c/em>’s multiple references to Percocet. The show ended with a \u003ca href=\"https://www.vibe.com/music/music-news/nicki-minaj-concert-brawl-video-369856/\">giant brawl in the crowd\u003c/a>; as I left I saw one guy \u003ca href=\"https://twitter.com/gmeline/status/632463878668943360\">face-down, knocked out\u003c/a>. The vibes, as they say, were off.\u003c/p>\n\u003cfigure id=\"attachment_13953293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Friday night, fans got the old Nicki. And not just with older deep cuts like “Favorite” and “Win Again,” which roused diehards but caused the overall energy to dip. One of the show’s early peaks was “FTCU,” and the modern phenomenon of an arena screaming the \u003ca href=\"https://www.tiktok.com/tag/ftcu?lang=en\">30 seconds of a song that are famous on TikTok\u003c/a>.\u003c/p>\n\u003cp>The inspirational Nicki showed up too, during “The Night Is Still Young.” “I wanna tell you guys something right now,” she said. “No matter what is happening right now outside of Gag City, inside here, we are radiating positivity, success, prosperity, intelligence and wisdom” — later telling her audience, many clad in in sequined skirts, pink wigs, fuzzy hats and platform heels, “You still have time to do what you have to do! Don’t waste a minute of your life! Promise me that!” \u003c/p>\n\u003cfigure id=\"attachment_13953295\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Cowgirl’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Fans also got the sex-positive Nicki. After a costume change into a basketball jersey-inspired yellow dress and boxing hoodie, Nicki did her best impression of Prince’s “Darling Nikki” upon the stage floor, complete with 90-degree leg lifts and a strategically positioned microphone. Cue the Beyoncé duet “Feelin’ Myself,” followed by undulating with three leather-clad beefcakes on steel beds (“Cowgirl”) and a straight-up face sit (“RNB”). \u003c/p>\n\u003cp>Provocative? Sure. But she knows what she’s doing. Nicki is hyper-aware of the meta narratives around her every move — and I’m not sure that’s always a good thing. As a longtime fan, part of my hesitation about this tour is that she’s seemed less interested in being the world’s greatest rapper, and more interested in \u003cem>hearing people say\u003c/em> she’s the world’s greatest rapper. It’s been giving self-doubt, and made me hear her music as telegraphing “greatness” instead of embodying it.\u003c/p>\n\u003cfigure id=\"attachment_13953291\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Red Ruby da Sleeze’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>But if anyone’s earned the right to rest on her laurels, it’s Nicki. You can hear her carefree flamboyance in Doja Cat, her winking humor in Cardi B, her boss-bitch confidence in — yes — Megan Thee Stallion. But primarily, 24 years into her career, Nicki’s influence is in the fact we are talking about any of these talented women at all.\u003c/p>\n\u003cp>It is really, really hard to convey to younger fans the unfair reality in which we lived, for years, that allowed for one and only one female rapper at a time. Nicki blew that notion apart. With her many alter egos and endless flows, she paved a multitude of ways for women to make their mark in the industry. On Friday, she also let \u003ca href=\"https://twitter.com/BARIJUKU/status/1763827847473635820\">national treasure Monica\u003c/a> perform a simmering set of a half-dozen songs during her headlining set, rather than making her open to a half-full arena.\u003c/p>\n\u003cfigure id=\"attachment_13953292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘FTCU’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>During the show, I thought of the prom scene in \u003cem>Mean Girls\u003c/em>, where Cady Heron hands out pieces of her crown to the other girls at school. That’s what Nicki did. I don’t think she really wants the crown back. She just wants people to know where it came from. \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>During her joyous finale in Oakland — with favorites “Moment for Life,” “Starships” and the eternal “Super Bass” — she made a convincing closing argument for that fact. This jury’s verdict is in: Nicki’s resurrected herself. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour","authors":["185"],"categories":["arts_1","arts_69","arts_235","arts_75"],"tags":["arts_10278","arts_831","arts_21987","arts_1143","arts_21988","arts_974","arts_769"],"featImg":"arts_13953288","label":"arts"},"arts_13952927":{"type":"posts","id":"arts_13952927","meta":{"index":"posts_1591205157","site":"arts","id":"13952927","found":true},"guestAuthors":[],"slug":"zendaya-cal-shakes-north-star-fund-donation","title":"Zendaya Donates $100,000 to Bay Area Theater Company","publishDate":1708727095,"format":"standard","headTitle":"Zendaya Donates $100,000 to Bay Area Theater Company | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Star actress \u003ca href=\"https://www.kqed.org/arts/tag/zendaya\">Zendaya\u003c/a> has made a large donation to the California Shakespeare Theater (Cal Shakes) that’s expected to have a major impact on the company’s upcoming 50th anniversary season.\u003c/p>\n\u003cp>[aside postid='arts_13891785']\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">The Oakland-born star\u003c/a> of \u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">\u003cem>Dune\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em> \u003c/a>facilitated a $100,000 grant to the theater’s \u003ca href=\"https://calshakes.org/support/\">North Star Fund\u003c/a> via the Women Donors Network (WDN).\u003c/p>\n\u003cp>“We hope that our funding supports your work and helps further your strategic vision, wherever funds are most needed,” said WDN’s President and CEO Leena Barakat in a statement.\u003c/p>\n\u003cp>The North Star Fund is dedicated toward launching a development program for young acting talent, improving sound and lighting at the Bruns Amphitheater in Orinda, and upgrading Cal Shakes’ cafe facilities. The fund will also finance the theater’s \u003ca href=\"https://calshakes.org/calshakes50_pr/\">50th anniversary production of \u003c/a>\u003cem>\u003ca href=\"https://calshakes.org/calshakes50_pr/\">As You Like It\u003c/a>,\u003c/em> set to be directed by Elizabeth Carter.\u003c/p>\n\u003cp>“To me, \u003cem>As You Like It\u003c/em> is ultimately about the freedom to uncover ourselves,” Carter said when the play was announced, “being loved for our true selves, and that the least of us is the most of us.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='pop_95643']Zendaya, 27, has been closely linked to Cal Shakes since her childhood. Her mother, elementary school teacher Claire Stoermer, worked as the house manager for 12 summers. Zendaya often accompanied her mom to the theater, helping out by selling raffle tickets and handing out programs.\u003c/p>\n\u003cp>The actress began taking classes at Cal Shakes at the age of 8, encouraged by her mom. Within six years, Zendaya began starring in the Disney Channel series, \u003cem>Shake it Up\u003c/em>. In 2020, she became the youngest actor to ever win an Emmy Award for her work on \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cp>The $100,000 donation follows a pattern of Zendaya representing her hometown of Oakland and supporting its community programs. Last year, with boyfriend Tom Holland, she \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/zendaya-and-boyfriend-tom-holland-made-a-secret-trip-to-her-oakland-school\">visited her alma mater Oakland School for the Arts\u003c/a> to talk with students. In 2018, she \u003ca href=\"https://www.essence.com/celebrity/zendaya-google-computer-science-roses-oakland/\">helped fund a grant supporting computer science curriculum\u003c/a> at Oakland’s Roses In Concerete Community School.\u003c/p>\n\u003cp>Zendaya remains a regular visitor to the Cal Shakes’ theater in Orinda, and was made aware of its post-pandemic challenges in conversations with Executive Director Clive Worsley and others at Cal Shakes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are deeply grateful to Zendaya and the WDN for their partnership,” Worsley said in a statement. “This gift helps keep Cal Shakes going strong.”\u003c/p>\n\n","blocks":[],"excerpt":"The Oakland-born star gives back to Cal Shakes, where she began acting lessons at the age of 8.","status":"publish","parent":0,"modified":1708727375,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":416},"headData":{"title":"Zendaya Donates $100,000 to Bay Area Theater Company | KQED","description":"The Oakland-born star gives back to Cal Shakes, where she began acting lessons at the age of 8.","ogTitle":"Zendaya Donates $100,000 to Bay Area Theater Company","ogDescription":"","ogImgId":"","twTitle":"Zendaya Donates $100,000 to Bay Area Theater Company","twDescription":"","twImgId":"","socialTitle":"Zendaya Donates $100,000 to Bay Area Theater Company %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952927/zendaya-cal-shakes-north-star-fund-donation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Star actress \u003ca href=\"https://www.kqed.org/arts/tag/zendaya\">Zendaya\u003c/a> has made a large donation to the California Shakespeare Theater (Cal Shakes) that’s expected to have a major impact on the company’s upcoming 50th anniversary season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13891785","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">The Oakland-born star\u003c/a> of \u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">\u003cem>Dune\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em> \u003c/a>facilitated a $100,000 grant to the theater’s \u003ca href=\"https://calshakes.org/support/\">North Star Fund\u003c/a> via the Women Donors Network (WDN).\u003c/p>\n\u003cp>“We hope that our funding supports your work and helps further your strategic vision, wherever funds are most needed,” said WDN’s President and CEO Leena Barakat in a statement.\u003c/p>\n\u003cp>The North Star Fund is dedicated toward launching a development program for young acting talent, improving sound and lighting at the Bruns Amphitheater in Orinda, and upgrading Cal Shakes’ cafe facilities. The fund will also finance the theater’s \u003ca href=\"https://calshakes.org/calshakes50_pr/\">50th anniversary production of \u003c/a>\u003cem>\u003ca href=\"https://calshakes.org/calshakes50_pr/\">As You Like It\u003c/a>,\u003c/em> set to be directed by Elizabeth Carter.\u003c/p>\n\u003cp>“To me, \u003cem>As You Like It\u003c/em> is ultimately about the freedom to uncover ourselves,” Carter said when the play was announced, “being loved for our true selves, and that the least of us is the most of us.”\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_95643","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Zendaya, 27, has been closely linked to Cal Shakes since her childhood. Her mother, elementary school teacher Claire Stoermer, worked as the house manager for 12 summers. Zendaya often accompanied her mom to the theater, helping out by selling raffle tickets and handing out programs.\u003c/p>\n\u003cp>The actress began taking classes at Cal Shakes at the age of 8, encouraged by her mom. Within six years, Zendaya began starring in the Disney Channel series, \u003cem>Shake it Up\u003c/em>. In 2020, she became the youngest actor to ever win an Emmy Award for her work on \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cp>The $100,000 donation follows a pattern of Zendaya representing her hometown of Oakland and supporting its community programs. Last year, with boyfriend Tom Holland, she \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/zendaya-and-boyfriend-tom-holland-made-a-secret-trip-to-her-oakland-school\">visited her alma mater Oakland School for the Arts\u003c/a> to talk with students. In 2018, she \u003ca href=\"https://www.essence.com/celebrity/zendaya-google-computer-science-roses-oakland/\">helped fund a grant supporting computer science curriculum\u003c/a> at Oakland’s Roses In Concerete Community School.\u003c/p>\n\u003cp>Zendaya remains a regular visitor to the Cal Shakes’ theater in Orinda, and was made aware of its post-pandemic challenges in conversations with Executive Director Clive Worsley and others at Cal Shakes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are deeply grateful to Zendaya and the WDN for their partnership,” Worsley said in a statement. “This gift helps keep Cal Shakes going strong.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952927/zendaya-cal-shakes-north-star-fund-donation","authors":["11242"],"categories":["arts_1","arts_11615","arts_235","arts_75","arts_967"],"tags":["arts_1890","arts_10278","arts_3590","arts_21972","arts_21968"],"featImg":"arts_13952930","label":"arts"},"arts_13952796":{"type":"posts","id":"arts_13952796","meta":{"index":"posts_1591205157","site":"arts","id":"13952796","found":true},"guestAuthors":[],"slug":"nimsins-vinay-ai-album-documentary-sensory-overload","title":"A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours","publishDate":1709147035,"format":"standard","headTitle":"A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Stop me if you’ve heard this one before: an East Oakland rapper and Berkeley software engineer fly to New York City to record an album at a DIY studio using beta open-sourced AI technology, then return to the Bay Area to finish it. Oh, and they do it all on a whim, within a total of 24 hours.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the universe (or metaverse?) we live in today — in which community and creativity are inescapably intertwined with technologies we don’t completely understand, but are learning to maneuver in fast-moving, self-directed ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a reality that \u003ca href=\"https://www.instagram.com/nimsins/?hl=en\">Nimsins\u003c/a> and \u003ca href=\"https://www.instagram.com/vinay___/?hl=en\">Vinay Pai\u003c/a> (the rapper and software engineer, respectively) hoped to leverage as friends and artists in their latest collaboration, \u003c/span>\u003ca href=\"https://open.spotify.com/album/7C8vShKWOIcbNXhqMHI7wa\">\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Using a test version of Meta’s\u003c/span>\u003ca href=\"https://musicgen.com/\">\u003cspan style=\"font-weight: 400\"> MusicGen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (which allows users to generate music from text prompts) and Hugging Face (an open source website where emerging AI research is shared for public use), the creative duo came together for what they’re claiming is the first album to use the latest generative music production technology.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/3DBv2ZxbOjU?feature=shared\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of my coworkers used to work on\u003c/span>\u003ca href=\"https://ai.meta.com/research/\">\u003cspan style=\"font-weight: 400\"> Fundamental AI Research [FAIR]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Meta. He worked on deep system stuff, not audio. He told me about [MusicGen] existing [before it went fully public],” says Pai, a UC Berkeley computer science graduate who came up with the idea and reached out to Nimsins, with whom he had previously worked on an album. (Pai also produces music under his first name, Vinay.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The complete project includes the album, an AI-generated music video and a \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lowvJWnXbe4\">\u003cspan style=\"font-weight: 400\">two-part (human-made) documentary\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">about the process. The goal wasn’t necessarily to make the best rap record of all time. It was more about experimenting with new advancements in AI that, at the time the project was recorded last summer, had just leaked to the public on research back channels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The eight-track, 15-minute effort may indicate a growing trend among Bay Area musicians and adjacent hobbyists, who will likely rely more heavily on AI-augmented tools to make art. And it certainly raises questions that the artists themselves are still attempting to answer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So you might be wondering: Is the album any good? And what is lost when human artists yield such a substantial part of their creativity to machine-learning algorithms?\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3917933877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bridging tech and hip-hop in the shadows of Silicon Valley\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pai isn’t your ordinary software engineer. While studying at Cal in the mid-2010s, he began making hip-hop instrumentals in his spare moments, and met producer \u003c/span>\u003ca href=\"https://www.instagram.com/versaam__/\">\u003cspan style=\"font-weight: 400\">Versâam\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was a student athlete on campus at the time. Versâam recognized Pai’s talents and enlisted him as an intern at\u003c/span>\u003ca href=\"https://www.complex.com/pop-culture/a/eric-arnold/rap-atlas-oakland\">\u003cspan style=\"font-weight: 400\"> Emeryville’s famed The Grill Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where Bay Area rappers like SOB x RBE, Zaytoven, Richie Rich and so many others — including Nimsins — regularly appeared. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After two years at The Grill, Pai ascended in the local music industry, and went on to produce commercials for major companies like Coca-Cola to air during the 2021 FIFA World Cup. However, he often felt underpaid and undervalued for his work. Once the pandemic forced the studio where he worked to temporarily close, Pai pivoted to his background in engineering, opting for a career that could afford him to continue making music on the side. The right opportunity came for him at that moment: AI development.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m not going to sit here and negotiate with [music executives] about pennies when someone can give me life-changing money to work on AI,” Pai says. “That was a year before the big AI boom. I was really fortunate to be put in that position.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“AI is hitting a critical mass,” he continues. “The conversation I’m having with artists is about that. I feel lucky to be a bridge, being in the belly of the beast as far as knowing the technology. Let’s figure out a way [as artists] to use it and take advantage and elevate ourselves.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13863297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863297\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-800x500.jpg\" alt=\"Nimsins (with daughter) meets Steph Curry at Concordia Park in East Oakland after the Warriors star helped unveil a new basketball court at the park.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins (and his daughter) with Steph Curry at a community event in 2019. \u003ccite>(@nimfromthaeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the other hand, Nimsins — who is\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910282/nimsins-raps-about-east-oakland-with-love\"> \u003cspan style=\"font-weight: 400\">a father and mentor to younger artists in East Oakland\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and is currently studying anthropology and Spanish at San José State University — isn’t embedded in tech. Listening to his discography, you get the sense he’s more interested in philosophy and breaking bread with his people than in profit gains and building an NFT portfolio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Nimsins, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> stemmed from his relationship with Pai — who Nimsins praises for simultaneously juggling his roles as a sound engineer, talent manager and vocalist on the album — and his own belief in experimenting with the unknown. After all, isn’t that what artists do — regardless of their technological era?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We recorded some good parts on the album, but there’s some duds, too,” Nimsins admits. “We would sit there for hella long trying to find the right beat, finding the right prompt [to type into MusicGen]. There’s a point in the documentary when you can see how everyone’s spirit changes when we find a good beat. The spirit of collaboration hit the room in a different way.”\u003c/span>\u003c/p>\n\u003cp>And yet, music is also ultimately about the final output, and not just the process.\u003c/p>\n\u003cp>In the documentary’s first part, filmed in New York City, Pai riffs off the cuff: “The reason I play music is because it brings me joy to be in the wave. When you’re in the pocket playing [instruments] with other people, when you’re in sync with them, like when you’re freestyling or you’re in a cypher, when you’re in a band and everybody’s locked in, that’s the joy of music. At the end of the day though, the money doesn’t come from joy. The money comes from the product.” [aside postid='forum_2010101893314']\u003c/p>\n\u003cp>Pai’s outlook on the subject maintains a genuine \u003cem>h\u003c/em>\u003cem>ow can we learn to use this before it uses us?\u003c/em> tone throughout. But, of course, it may not be so simple in an industry where the “product” is also becoming devalued. Access to recording equipment has exploded, effectively decentralizing the music industry with an influx of content to stream on corporate platforms that, as Pai acknowledged, pay literal pennies.\u003c/p>\n\u003cp>To his credit, Pai seems to understand the layered, tangled mess of it all, and isn’t operating with AI blinders on, either.\u003c/p>\n\u003cp>“If you want to do what music is meant to do, which is uplift the spirit, to uplift the soul, to bring communities and people together, you have to keep those traditions alive somehow,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13953130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg\" alt=\"Two artists look at a computer together. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins and Vinay Pai (left to right) work in a studio in New York. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not completely automated… yet\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Japanese jazz.” “Black church music.” “Early 2000s Missy Elliott.” “Experimental psychedelic reggae.” “Nigerian drill.” “’90s DMX type upbeat beat.” “Lo-fi hip-hop with futuristic soul sample.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These are all phrases that a room full of creatives churned out together while using MusicGen. The documentary reveals a loose yet meticulous process of back-and-forth deliberation between the engineering producer (Pai), the MC (Nimsins) and a variety of guest artists (friends, rappers, photographers, videographers) who rotate within the 24-hour window to add their two cents, lay down a verse, then dip.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The differences between any beat the skeleton crew approved or canned could be as nearly imperceptible as typing “drill beat with Japanese jazz sample” instead of “drill beat with experimental flute sample” into the text box. Using screenshare recordings, the documentary captures the hivemind brainstorm as each word is collectively supplied, spraying AI-generated noise in random directions before calibrating the aim with each pull of the new-phrase trigger. It’s an admittedly mesmerizing experience to witness, and one which subtly highlights a different kind of creative problem solving that goes into making an AI-assisted soundtrack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At one point, the camera turns to Pai, who is asked about his thoughts on this emerging tech. His response is sobering, transparent and laden with complex truths: “It’s gonna make it a lot easier to express your ideas. People who don’t have the training, background or experience can get their ideas out way faster. So it’s going to empower a lot of people. But it’s definitely going to change the business.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If AI can make [an instrumental] in five seconds, way faster than me… it’s gonna fuck up the producer game for sure,” he adds. “But as artists you gotta adapt and find a way to create new forms of art.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nimsims doesn’t shy away from the contradictory elements that underpin the duo’s forward-thinking, if not opportunistic, AI-rap dabbling, either.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg\" alt=\"A rapper in the booth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Baby Gandhi records his feature on Nimsins’ ‘SENSORY OVERLOAD’ album. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I wouldn’t do it again myself,” says Nimsins. “I know hella dope producers. I like being hands on. It only worked because Vinay is someone I trust and enjoy. But I like to make my own beats, looking for samples, all that. It was something to do in the moment, like a challenge, something we should learn more about.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the opening track, “ALGORITHMS,” Nimsins spits with his usual word-bending subversion: “Face to the screen and screen to the face / …An algorithm with no rhythm to name / Had ideas, they beginning to fade / Was unique, now wе one and the same / With nobody to blamе, an entity without a thing we can name.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The project involves nine credited musical artists — among them are Indian American rappers and Puerto Rican lyricists, who references are as varied as Islamic teachings and a full verse in Spanish. Considering it was written and recorded using pirate studios on both coasts of the country, all in 24 hours, the album low-key slaps and shows no discernable signs of automated production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Call it new school, but you can’t knock the cyber hustle. Maybe the Too $horts and E-40s of tomorrow will just have to be out-the-high-tech-trunk with their digitized game in ways previous generations didn’t have to be. Maybe AI developers will supplant record labels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe we’ll have to embrace what the future holds for tech-savvy artists, and what tech-savvy artists hold for the future.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘SENSORY OVERLOAD’ is available on Bandcamp. All proceeds from the album go to \u003c/span>\u003c/i>\u003ca href=\"https://brl-inc.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Beats Rhymes and Life\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, an Oakland-based non-profit for hip-hop education.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Nimsins and Vinay Pai generated beats using text prompts. They still feel conflicted about it.","status":"publish","parent":0,"modified":1709241164,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3917933877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":1884},"headData":{"title":"A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours | KQED","description":"Nimsins and Vinay Pai generated beats using text prompts. They still feel conflicted about it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952796/nimsins-vinay-ai-album-documentary-sensory-overload","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Stop me if you’ve heard this one before: an East Oakland rapper and Berkeley software engineer fly to New York City to record an album at a DIY studio using beta open-sourced AI technology, then return to the Bay Area to finish it. Oh, and they do it all on a whim, within a total of 24 hours.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the universe (or metaverse?) we live in today — in which community and creativity are inescapably intertwined with technologies we don’t completely understand, but are learning to maneuver in fast-moving, self-directed ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a reality that \u003ca href=\"https://www.instagram.com/nimsins/?hl=en\">Nimsins\u003c/a> and \u003ca href=\"https://www.instagram.com/vinay___/?hl=en\">Vinay Pai\u003c/a> (the rapper and software engineer, respectively) hoped to leverage as friends and artists in their latest collaboration, \u003c/span>\u003ca href=\"https://open.spotify.com/album/7C8vShKWOIcbNXhqMHI7wa\">\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Using a test version of Meta’s\u003c/span>\u003ca href=\"https://musicgen.com/\">\u003cspan style=\"font-weight: 400\"> MusicGen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (which allows users to generate music from text prompts) and Hugging Face (an open source website where emerging AI research is shared for public use), the creative duo came together for what they’re claiming is the first album to use the latest generative music production technology.\u003c/span>\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/3DBv2ZxbOjU'\n title='//www.youtube.com/embed/3DBv2ZxbOjU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of my coworkers used to work on\u003c/span>\u003ca href=\"https://ai.meta.com/research/\">\u003cspan style=\"font-weight: 400\"> Fundamental AI Research [FAIR]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Meta. He worked on deep system stuff, not audio. He told me about [MusicGen] existing [before it went fully public],” says Pai, a UC Berkeley computer science graduate who came up with the idea and reached out to Nimsins, with whom he had previously worked on an album. (Pai also produces music under his first name, Vinay.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The complete project includes the album, an AI-generated music video and a \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lowvJWnXbe4\">\u003cspan style=\"font-weight: 400\">two-part (human-made) documentary\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">about the process. The goal wasn’t necessarily to make the best rap record of all time. It was more about experimenting with new advancements in AI that, at the time the project was recorded last summer, had just leaked to the public on research back channels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The eight-track, 15-minute effort may indicate a growing trend among Bay Area musicians and adjacent hobbyists, who will likely rely more heavily on AI-augmented tools to make art. And it certainly raises questions that the artists themselves are still attempting to answer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So you might be wondering: Is the album any good? And what is lost when human artists yield such a substantial part of their creativity to machine-learning algorithms?\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3917933877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bridging tech and hip-hop in the shadows of Silicon Valley\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pai isn’t your ordinary software engineer. While studying at Cal in the mid-2010s, he began making hip-hop instrumentals in his spare moments, and met producer \u003c/span>\u003ca href=\"https://www.instagram.com/versaam__/\">\u003cspan style=\"font-weight: 400\">Versâam\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was a student athlete on campus at the time. Versâam recognized Pai’s talents and enlisted him as an intern at\u003c/span>\u003ca href=\"https://www.complex.com/pop-culture/a/eric-arnold/rap-atlas-oakland\">\u003cspan style=\"font-weight: 400\"> Emeryville’s famed The Grill Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where Bay Area rappers like SOB x RBE, Zaytoven, Richie Rich and so many others — including Nimsins — regularly appeared. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After two years at The Grill, Pai ascended in the local music industry, and went on to produce commercials for major companies like Coca-Cola to air during the 2021 FIFA World Cup. However, he often felt underpaid and undervalued for his work. Once the pandemic forced the studio where he worked to temporarily close, Pai pivoted to his background in engineering, opting for a career that could afford him to continue making music on the side. The right opportunity came for him at that moment: AI development.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m not going to sit here and negotiate with [music executives] about pennies when someone can give me life-changing money to work on AI,” Pai says. “That was a year before the big AI boom. I was really fortunate to be put in that position.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“AI is hitting a critical mass,” he continues. “The conversation I’m having with artists is about that. I feel lucky to be a bridge, being in the belly of the beast as far as knowing the technology. Let’s figure out a way [as artists] to use it and take advantage and elevate ourselves.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13863297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863297\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-800x500.jpg\" alt=\"Nimsins (with daughter) meets Steph Curry at Concordia Park in East Oakland after the Warriors star helped unveil a new basketball court at the park.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins (and his daughter) with Steph Curry at a community event in 2019. \u003ccite>(@nimfromthaeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the other hand, Nimsins — who is\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910282/nimsins-raps-about-east-oakland-with-love\"> \u003cspan style=\"font-weight: 400\">a father and mentor to younger artists in East Oakland\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and is currently studying anthropology and Spanish at San José State University — isn’t embedded in tech. Listening to his discography, you get the sense he’s more interested in philosophy and breaking bread with his people than in profit gains and building an NFT portfolio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Nimsins, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> stemmed from his relationship with Pai — who Nimsins praises for simultaneously juggling his roles as a sound engineer, talent manager and vocalist on the album — and his own belief in experimenting with the unknown. After all, isn’t that what artists do — regardless of their technological era?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We recorded some good parts on the album, but there’s some duds, too,” Nimsins admits. “We would sit there for hella long trying to find the right beat, finding the right prompt [to type into MusicGen]. There’s a point in the documentary when you can see how everyone’s spirit changes when we find a good beat. The spirit of collaboration hit the room in a different way.”\u003c/span>\u003c/p>\n\u003cp>And yet, music is also ultimately about the final output, and not just the process.\u003c/p>\n\u003cp>In the documentary’s first part, filmed in New York City, Pai riffs off the cuff: “The reason I play music is because it brings me joy to be in the wave. When you’re in the pocket playing [instruments] with other people, when you’re in sync with them, like when you’re freestyling or you’re in a cypher, when you’re in a band and everybody’s locked in, that’s the joy of music. At the end of the day though, the money doesn’t come from joy. The money comes from the product.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101893314","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pai’s outlook on the subject maintains a genuine \u003cem>h\u003c/em>\u003cem>ow can we learn to use this before it uses us?\u003c/em> tone throughout. But, of course, it may not be so simple in an industry where the “product” is also becoming devalued. Access to recording equipment has exploded, effectively decentralizing the music industry with an influx of content to stream on corporate platforms that, as Pai acknowledged, pay literal pennies.\u003c/p>\n\u003cp>To his credit, Pai seems to understand the layered, tangled mess of it all, and isn’t operating with AI blinders on, either.\u003c/p>\n\u003cp>“If you want to do what music is meant to do, which is uplift the spirit, to uplift the soul, to bring communities and people together, you have to keep those traditions alive somehow,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13953130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg\" alt=\"Two artists look at a computer together. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins and Vinay Pai (left to right) work in a studio in New York. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not completely automated… yet\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Japanese jazz.” “Black church music.” “Early 2000s Missy Elliott.” “Experimental psychedelic reggae.” “Nigerian drill.” “’90s DMX type upbeat beat.” “Lo-fi hip-hop with futuristic soul sample.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These are all phrases that a room full of creatives churned out together while using MusicGen. The documentary reveals a loose yet meticulous process of back-and-forth deliberation between the engineering producer (Pai), the MC (Nimsins) and a variety of guest artists (friends, rappers, photographers, videographers) who rotate within the 24-hour window to add their two cents, lay down a verse, then dip.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The differences between any beat the skeleton crew approved or canned could be as nearly imperceptible as typing “drill beat with Japanese jazz sample” instead of “drill beat with experimental flute sample” into the text box. Using screenshare recordings, the documentary captures the hivemind brainstorm as each word is collectively supplied, spraying AI-generated noise in random directions before calibrating the aim with each pull of the new-phrase trigger. It’s an admittedly mesmerizing experience to witness, and one which subtly highlights a different kind of creative problem solving that goes into making an AI-assisted soundtrack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At one point, the camera turns to Pai, who is asked about his thoughts on this emerging tech. His response is sobering, transparent and laden with complex truths: “It’s gonna make it a lot easier to express your ideas. People who don’t have the training, background or experience can get their ideas out way faster. So it’s going to empower a lot of people. But it’s definitely going to change the business.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If AI can make [an instrumental] in five seconds, way faster than me… it’s gonna fuck up the producer game for sure,” he adds. “But as artists you gotta adapt and find a way to create new forms of art.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nimsims doesn’t shy away from the contradictory elements that underpin the duo’s forward-thinking, if not opportunistic, AI-rap dabbling, either.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg\" alt=\"A rapper in the booth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Baby Gandhi records his feature on Nimsins’ ‘SENSORY OVERLOAD’ album. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I wouldn’t do it again myself,” says Nimsins. “I know hella dope producers. I like being hands on. It only worked because Vinay is someone I trust and enjoy. But I like to make my own beats, looking for samples, all that. It was something to do in the moment, like a challenge, something we should learn more about.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the opening track, “ALGORITHMS,” Nimsins spits with his usual word-bending subversion: “Face to the screen and screen to the face / …An algorithm with no rhythm to name / Had ideas, they beginning to fade / Was unique, now wе one and the same / With nobody to blamе, an entity without a thing we can name.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The project involves nine credited musical artists — among them are Indian American rappers and Puerto Rican lyricists, who references are as varied as Islamic teachings and a full verse in Spanish. Considering it was written and recorded using pirate studios on both coasts of the country, all in 24 hours, the album low-key slaps and shows no discernable signs of automated production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Call it new school, but you can’t knock the cyber hustle. Maybe the Too $horts and E-40s of tomorrow will just have to be out-the-high-tech-trunk with their digitized game in ways previous generations didn’t have to be. Maybe AI developers will supplant record labels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe we’ll have to embrace what the future holds for tech-savvy artists, and what tech-savvy artists hold for the future.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\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>\u003cspan style=\"font-weight: 400\">‘SENSORY OVERLOAD’ is available on Bandcamp. All proceeds from the album go to \u003c/span>\u003c/i>\u003ca href=\"https://brl-inc.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Beats Rhymes and Life\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, an Oakland-based non-profit for hip-hop education.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952796/nimsins-vinay-ai-album-documentary-sensory-overload","authors":["11748"],"categories":["arts_1","arts_2303","arts_835","arts_69"],"tags":["arts_21891","arts_8505","arts_10342","arts_10278","arts_1935"],"featImg":"arts_13953126","label":"arts"},"arts_13953032":{"type":"posts","id":"arts_13953032","meta":{"index":"posts_1591205157","site":"arts","id":"13953032","found":true},"guestAuthors":[],"slug":"ybca-pro-palestinian-artist-protest-censorship-allegations-boycott","title":"YBCA Gallery Remains Closed; Pro-Palestinian Artists Claim Censorship","publishDate":1708992750,"format":"standard","headTitle":"YBCA Gallery Remains Closed; Pro-Palestinian Artists Claim Censorship | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>After a Feb. 15 protest in which artists altered their own exhibited works with pro-Palestinian messages at the Yerba Buena Center for the Arts (YBCA) in San Francisco, YBCA’s galleries remain closed with no reopening date in sight.\u003c/p>\n\u003cp>The \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">eight protesting artists\u003c/a> along with \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">15 current museum employees\u003c/a> decried YBCA’s actions as censorship in two Feb. 26 open letters, and the artists have called for a boycott of the museum. [aside hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-02-BL_qut-1020x680.jpg' postid='arts_13952460']\u003c/p>\n\u003cp>At the demonstration, artists draped banners and painted over their own work in the museum’s \u003ci>Bay Area Now 9\u003c/i> (\u003ci>BAN 9\u003c/i>) exhibition. As they modified their pieces, Palestinian, Arab and Jewish community organizers gave speeches calling for a ceasefire in Gaza and accused YBCA of censoring pro-Palestinian messages.\u003c/p>\n\u003cp>“I refuse to be told that I cannot speak to the Palestinian struggle or genocide in my public programming, as I believe that Palestinian liberation means liberation for all,” said artist and protest co-organizer Paz G, in an interview on Monday. Paz G spray painted their ceramic sculpture with the words “Viva Palestina — Free Palestine” during the protest.\u003c/p>\n\u003cp>“Saying no to genocide does not feel radical to me, and it doesn’t feel problematic, and it doesn’t feel divisive,” Paz G added.\u003c/p>\n\u003cfigure id=\"attachment_13953034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Courtney Desiree Morris during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fellow organizer Lukaza Branfman-Verissimo, who currently has an outdoor installation on YBCA’s Third Street wall, also expressed disappointment at the museum’s decision. “So much of this action was not only to call for the museum to call for a ceasefire and to acknowledge this genocide and to end censorship, but also to demand that the museum commit to the lifelong work of standing with the Palestinian people,” Branfman-Verissimo said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Feb. 24, YBCA CEO Sara Fenske Bahat emailed the eight protesting artists to indicate that their works would be de-installed on Monday, Feb. 26, and that she would be available for “curatorial conversations” one-on-one beforehand, according to an email reviewed by KQED. The artists requested more time in order to coordinate a meeting with Fenske Bahat as a collective.\u003c/p>\n\u003cp>Though Fenske Bahat declined an interview request, she emailed KQED a statement through a spokesperson: “We are eager to meet with [the artists] to have a meaningful conversation and hear how they would like to present their works. … All of the artworks remain in the gallery as they were, as we were hoping to have a conversation with the artists before moving forward. We don’t yet have a firm date for the reopening of the galleries.”\u003c/p>\n\u003cp>On Feb. 21, YBCA published its first \u003ca href=\"https://ybca.org/statement-on-2-15-protest/\">public statement about the protest\u003c/a>, underscoring the institution’s refusal to take a public stance on Israel’s military offensive in Gaza, the death toll of which is expected to \u003ca href=\"https://www.theguardian.com/world/2024/feb/25/gaza-death-toll-set-to-pass-30000-as-israel-prepares-assault-on-rafah\">rise above 30,000 this week\u003c/a>. “If YBCA has refrained from lending its voice to any side, it has been so that our many stakeholders can hold theirs,” the statement read.\u003c/p>\n\u003cp>YBCA’s statement also referred to the artists’ protest tactics as “polarizing” and “disruptive,” and asserted that ignoring the protest would set a “dangerous precedent”: “We risk descending into a world where cooperative curation and community building is governed by chaos, and the public is left wondering if visits to view artists’ works will be marred by disruption.”\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo characterized YBCA’s statement as a distraction.\u003c/p>\n\u003cp>“It’s a tactic used for political repression to paint us as these violent, dangerous protesters and not speak to the meat of the issue, which is that there is a genocide happening in Palestine,” Paz G said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ci>BAN 9\u003c/i> artists’ accusations of censorship go back to an incident from December 2023, when YBCA prevented Branfman-Verissimo from including the words “Free Palestine” on its outdoor marquee. The museum had previously used that display space for protest slogans in support of movements such as Black Lives Matter and Woman Life Freedom. Fellow \u003ci>BAN 9\u003c/i> artist Jeff Cheung also accused the museum of preventing him from using the colors of the Palestinian flag in an outdoor mural, which Fenske Bahat denied.\u003c/p>\n\u003cp>Now, the protesting artists say that YBCA’s removal of the modified artworks amounts to further censorship. Fenske Bahat did not address questions from KQED about why the institution views the pro-Palestinian movement differently from other social justice movements such as \u003ca href=\"https://ybca.org/2020-black-lives-matter/\">Black Lives Matter, which the museum endorsed\u003c/a> with an official statement on its website in 2020.\u003c/p>\n\u003cp>“They are out of touch with the community they claim to represent and serve,” Paz G said, noting that the cities of San Francisco, Oakland and Richmond have adopted resolutions calling for a ceasefire in Gaza, and that tens of thousands of Bay Area protesters have mobilized around the issue. Paz G and Branfman-Verissimo said over 2,200 people have emailed YBCA supporting the artist protest through a form that the artists set up.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the Feb. 15 demonstration, protesters passed out flyers with demands, two of which called for YBCA to join the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), and to “remove all Zionist funders and board members,” without naming specific people.\u003c/p>\n\u003cp>“Such language is neither productive nor tolerable,” reads the YBCA statement in response, which also refers to protest demands as amounting to a call for “illegal, identity-based discrimination.”\u003c/p>\n\u003cp>Protest organizers denied this charge, and pointed out that Zionism is a political ideology, not a religion or ethnicity. “This is a tactic that is being used against people fighting for a ceasefire and to end the genocide in Palestine. … We’re being essentially painted as anti-Semitic,” Paz G said.\u003c/p>\n\u003cp>“There have been hundreds of organizations nationwide that have stood with PACBI,” said Branfman-Verissimo, who is Jewish. Activists from Jewish Voice for Peace also joined the Feb. 15 demonstration among Palestinian groups such as the U.S. Palestinian Community Network.\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo said the eight artists hope to meet with YBCA leadership this week. In addition to protest demands, they will ask YBCA to create an artist advisory board so that it can better serve public interests. Until then, they are asking the public not to support the institution.\u003c/p>\n\u003cp>“[It’s] a way for YBCA to move forward and to show the Bay area that they stand with us, that they care,” Paz G said.\u003c/p>\n\u003cp>[ad floatright]\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\n","blocks":[],"excerpt":"Eight artists are calling for a boycott of the San Francisco museum.","status":"publish","parent":0,"modified":1709237113,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1255},"headData":{"title":"YBCA Gallery Remains Closed; Pro-Palestinian Artists Claim Censorship | KQED","description":"Eight artists are calling for a boycott of the San Francisco museum.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953032/ybca-pro-palestinian-artist-protest-censorship-allegations-boycott","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a Feb. 15 protest in which artists altered their own exhibited works with pro-Palestinian messages at the Yerba Buena Center for the Arts (YBCA) in San Francisco, YBCA’s galleries remain closed with no reopening date in sight.\u003c/p>\n\u003cp>The \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">eight protesting artists\u003c/a> along with \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">15 current museum employees\u003c/a> decried YBCA’s actions as censorship in two Feb. 26 open letters, and the artists have called for a boycott of the museum. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"hero":"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-02-BL_qut-1020x680.jpg","postid":"arts_13952460","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the demonstration, artists draped banners and painted over their own work in the museum’s \u003ci>Bay Area Now 9\u003c/i> (\u003ci>BAN 9\u003c/i>) exhibition. As they modified their pieces, Palestinian, Arab and Jewish community organizers gave speeches calling for a ceasefire in Gaza and accused YBCA of censoring pro-Palestinian messages.\u003c/p>\n\u003cp>“I refuse to be told that I cannot speak to the Palestinian struggle or genocide in my public programming, as I believe that Palestinian liberation means liberation for all,” said artist and protest co-organizer Paz G, in an interview on Monday. Paz G spray painted their ceramic sculpture with the words “Viva Palestina — Free Palestine” during the protest.\u003c/p>\n\u003cp>“Saying no to genocide does not feel radical to me, and it doesn’t feel problematic, and it doesn’t feel divisive,” Paz G added.\u003c/p>\n\u003cfigure id=\"attachment_13953034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Courtney Desiree Morris during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fellow organizer Lukaza Branfman-Verissimo, who currently has an outdoor installation on YBCA’s Third Street wall, also expressed disappointment at the museum’s decision. “So much of this action was not only to call for the museum to call for a ceasefire and to acknowledge this genocide and to end censorship, but also to demand that the museum commit to the lifelong work of standing with the Palestinian people,” Branfman-Verissimo said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Feb. 24, YBCA CEO Sara Fenske Bahat emailed the eight protesting artists to indicate that their works would be de-installed on Monday, Feb. 26, and that she would be available for “curatorial conversations” one-on-one beforehand, according to an email reviewed by KQED. The artists requested more time in order to coordinate a meeting with Fenske Bahat as a collective.\u003c/p>\n\u003cp>Though Fenske Bahat declined an interview request, she emailed KQED a statement through a spokesperson: “We are eager to meet with [the artists] to have a meaningful conversation and hear how they would like to present their works. … All of the artworks remain in the gallery as they were, as we were hoping to have a conversation with the artists before moving forward. We don’t yet have a firm date for the reopening of the galleries.”\u003c/p>\n\u003cp>On Feb. 21, YBCA published its first \u003ca href=\"https://ybca.org/statement-on-2-15-protest/\">public statement about the protest\u003c/a>, underscoring the institution’s refusal to take a public stance on Israel’s military offensive in Gaza, the death toll of which is expected to \u003ca href=\"https://www.theguardian.com/world/2024/feb/25/gaza-death-toll-set-to-pass-30000-as-israel-prepares-assault-on-rafah\">rise above 30,000 this week\u003c/a>. “If YBCA has refrained from lending its voice to any side, it has been so that our many stakeholders can hold theirs,” the statement read.\u003c/p>\n\u003cp>YBCA’s statement also referred to the artists’ protest tactics as “polarizing” and “disruptive,” and asserted that ignoring the protest would set a “dangerous precedent”: “We risk descending into a world where cooperative curation and community building is governed by chaos, and the public is left wondering if visits to view artists’ works will be marred by disruption.”\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo characterized YBCA’s statement as a distraction.\u003c/p>\n\u003cp>“It’s a tactic used for political repression to paint us as these violent, dangerous protesters and not speak to the meat of the issue, which is that there is a genocide happening in Palestine,” Paz G said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ci>BAN 9\u003c/i> artists’ accusations of censorship go back to an incident from December 2023, when YBCA prevented Branfman-Verissimo from including the words “Free Palestine” on its outdoor marquee. The museum had previously used that display space for protest slogans in support of movements such as Black Lives Matter and Woman Life Freedom. Fellow \u003ci>BAN 9\u003c/i> artist Jeff Cheung also accused the museum of preventing him from using the colors of the Palestinian flag in an outdoor mural, which Fenske Bahat denied.\u003c/p>\n\u003cp>Now, the protesting artists say that YBCA’s removal of the modified artworks amounts to further censorship. Fenske Bahat did not address questions from KQED about why the institution views the pro-Palestinian movement differently from other social justice movements such as \u003ca href=\"https://ybca.org/2020-black-lives-matter/\">Black Lives Matter, which the museum endorsed\u003c/a> with an official statement on its website in 2020.\u003c/p>\n\u003cp>“They are out of touch with the community they claim to represent and serve,” Paz G said, noting that the cities of San Francisco, Oakland and Richmond have adopted resolutions calling for a ceasefire in Gaza, and that tens of thousands of Bay Area protesters have mobilized around the issue. Paz G and Branfman-Verissimo said over 2,200 people have emailed YBCA supporting the artist protest through a form that the artists set up.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the Feb. 15 demonstration, protesters passed out flyers with demands, two of which called for YBCA to join the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), and to “remove all Zionist funders and board members,” without naming specific people.\u003c/p>\n\u003cp>“Such language is neither productive nor tolerable,” reads the YBCA statement in response, which also refers to protest demands as amounting to a call for “illegal, identity-based discrimination.”\u003c/p>\n\u003cp>Protest organizers denied this charge, and pointed out that Zionism is a political ideology, not a religion or ethnicity. “This is a tactic that is being used against people fighting for a ceasefire and to end the genocide in Palestine. … We’re being essentially painted as anti-Semitic,” Paz G said.\u003c/p>\n\u003cp>“There have been hundreds of organizations nationwide that have stood with PACBI,” said Branfman-Verissimo, who is Jewish. Activists from Jewish Voice for Peace also joined the Feb. 15 demonstration among Palestinian groups such as the U.S. Palestinian Community Network.\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo said the eight artists hope to meet with YBCA leadership this week. In addition to protest demands, they will ask YBCA to create an artist advisory board so that it can better serve public interests. Until then, they are asking the public not to support the institution.\u003c/p>\n\u003cp>“[It’s] a way for YBCA to move forward and to show the Bay area that they stand with us, that they care,” Paz G said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953032/ybca-pro-palestinian-artist-protest-censorship-allegations-boycott","authors":["11387"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_10342","arts_10278","arts_8838","arts_1040"],"featImg":"arts_13952456","label":"arts"},"arts_13953119":{"type":"posts","id":"arts_13953119","meta":{"index":"posts_1591205157","site":"arts","id":"13953119","found":true},"guestAuthors":[],"slug":"george-crampton-glassanos-has-pendletons-paint-and-passion","title":"George Crampton Glassanos has Pendletons, Paint and Passion","publishDate":1709204438,"format":"audio","headTitle":"George Crampton Glassanos has Pendletons, Paint and Passion | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Let \u003ca href=\"https://www.instagram.com/paintergeorge415/\" target=\"_blank\" rel=\"noopener\">George Crampton Glassanos\u003c/a> tell it, he isn’t an artist.\u003c/p>\n\u003cp>Despite this, he’s painted numerous signs and murals throughout San Francisco’s Mission district— including one depicting a fly, black, droptop lowrider in front of the once beloved eatery, \u003ca href=\"https://www.doggiediner.info/\">Doggie Diner\u003c/a> and another of the legendary, charismatic gorilla logo of union-made work clothing company, Ben Davis.\u003c/p>\n\u003cp>George is firm on this: he isn’t an artist, he’s a painter.\u003c/p>\n\u003cfigure id=\"attachment_13953121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953121 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-800x600.jpg\" alt=\"Person in plaid button-up shirt standing in front of the Ben Davis sign, where the iconic logo of a yellow gorilla with a charismatic smile serves as the main image, and the words "World's Toughest Work Clothing" sits atop the sign. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Harry Crampton Glassanos standing in front of the Ben Davis sign he restored. (Pendarvis Harshaw/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>His work, full of eye-catching colors and symbols representative of the Mission’s culture, is utilitarian in nature. It’s born out of both a need to serve others, and George’s personal urge to create.\u003c/p>\n\u003cp>Raised on Lexington and San Carlos streets, George was an imaginative kid. His parents introduced him to the creative process and gave him basic art tools and a foundation to express himself (including comic books like \u003ca href=\"https://www.youtube.com/watch?v=lTYzqHRqRQU\">Love and Rockets\u003c/a>). That coupled with his memories of frequenting eateries and hanging out with friends, serves as the backdrop to his work.\u003c/p>\n\u003cp>Even when he wasn’t outside, George’s unique perspective on his neighborhood was further tailored by watching the world through a window overlooking 18th and Valencia streets. From that perch he began to create.\u003c/p>\n\u003cfigure id=\"attachment_13953179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-800x533.jpg\" alt=\"A person wearing sunglasses holds up a jacket with "International Longshoremen's Warehousemen's Union" written on it.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Harry Crampton Glassanos holds up his International Longshoremen’s and Warehouse’s Union (ILWU) jacket in front of a mural he painted in Clarion Alley in San Francisco’s Mission District on Nov. 28, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years later, George is a proud member of \u003ca href=\"https://www.ilwu.org/\" target=\"_blank\" rel=\"noopener\">The International Longshoremen’s and Warehousemen’s Union (ILWU).\u003c/a> He gets creative inspiration from getting up early to take in the sunrise and listen to the birds. He’s also driven by the need to advocate for the rights of working class people, locally and abroad. This all adds to his paintings and drawings, but don’t call it artwork.\u003c/p>\n\u003cp>He recently stopped by KQED’s headquarters to share a bit of his story, then he took us on a short ride to see a few of his hand painted signs and murals— his work.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8150831467\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey, what’s up Rightnowish listeners. It’s the dream team Pendarvis Harshaw\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">and Marisol Medina-Cadena!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Today’s episode has us locked in The Mission, starting at a parking lot off 18th and Valencia. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s where I caught up with painter\u003c/span> \u003cspan style=\"font-weight: 400\">George Crampton Glassanos putting the final touches on his latest mural. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That parking lot is near and dear to George because it’s the main intersection where he grew up \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">This street’s completely changed. You know, it’s like you’re in the Marina now or something. It’s completely wacky. I don’t think anyone ever thought it was going to be like this when I was a kid, you know? Growing up right here, Valencia Street was no man’s land, given the few auto body shops. But it was like a lot of gas stations, auto, uh, used car lots, a lot of appliance stores. Which is cool that we’re painting this mural on, on the Cherin’s, in the Cherin’s parking lot. Cherin’s has been here since 1892. They sell refrigerators and washing machines and stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I remember this whole street just being like, a crazy mix of working class people, you know, different families. There was a guy next door to us that lived on the ground floor, corner apartment, right there on Lexington. And his family came up from the South during World War II to work in the shipyards. We had all different types of neighbors from different countries, you know. It wasn’t just Latinos. There’s a lot of Asian folks and I do remember Eastern Europeans in the neighborhood. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">George’s memories of the way the neighborhood was back iin the 90s, find their way into his work. Living in the bay, where murals are a-plenty, I think we residents take these large scale works of art for granted. They become like wallpaper. But when you stop to really look at the stories these walls tell, you can learn a lot about a place, its history and the people who came before us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassnos:\u003c/b> \u003cspan style=\"font-weight: 400\">To be able to paint right here on this corner has been a real treat, completely different from painting at home, you know. Painting outside, you you’re on a ladder and there’s cars flying by and people walking by, and it’s a whole other experience than painting on a canvas at home. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">George and his friend named the mural the “Four-Fifteenth Dimension.” It portrays a night out at a drive-in movie theater. Parked lowriders face a projection screen. And in each corner is a depiction of different Mission institutions like Doggie Diner, Hunt’s Donuts, and the 500 Club. It looks like a scene straight out of a comic book.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b> \u003cspan style=\"font-weight: 400\">I wanted to stick with, like, the theme of, like, new and old and, like, ancient civilizations fitting in with, like, modern or, you know, 1980’s burger stand. So I put the pyramid in just to kind of pay respects to, you know, the people that were here before us. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We’ll hear more about George Crampton Glassanos’ work and the message of caretaking that he’s spreading, right after this message.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I thought we could start by just talking about your… your threads. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Because every time I see you in the mission, you’re always wearing really cool outfits. Like jackets. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> So what are you wearing today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I wore a Pendleton. I dressed up because I wear my work clothes all week long, so when the weekend rolls around, I like to put on a nice outfit. It’s also the, you know, it’s that time of year it’s cold out, and Pendleton keeps you warm. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, back in November, when we first started talking to you, I caught up with you and your friend, 18th and Valencia. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Painting that mural. It’s finished now. So what’s the reception been like?\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">The other day I drove by it after high school got out, up at Mission High school. And there’s a big group of kids in there, you know, with their backpacks and skateboards, and they were all checking it out, so that makes me feel good, driving by and seeing the youth checking it out. That’s who it’s for: it’s for the kids. And, you know, my neighbors that are still there on that street that I grew up on a lot of… a lot of people left. A lot of people got pushed out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> Why is that street corner significant to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> I have memories of standing in the window as a kid, and I came up to, like, right at right to, like, the window sill when I was a kid. So I’d sit there in that fucking window for hours, and I’d look at cars driving by on the street, and my mom was like, “I couldn’t figure out what your obsession was with cars.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And we chewed on the window sill and, you know, this, like, lead paint, okay?And so, I just sit up there in that window, chewing on the window sill, and I could see that parking lot from my window. And across from the parking lot there was another, empty lot. It’s a condo now, but that was a used car dealership.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I had a whole view of that street, and there was a puddle that would form across the street from my house. And this was back in the day, so they had rush hour. They make you move your car at a certain time in the afternoon. It was like commute hours, so there’d be no cars on 18th. It was like four lanes, two lanes going down and two lanes going up. And you’d watch cars come tearing down the street and hit this puddle and it would soak people on the sidewalk. So that was our entertainment, you know, we’d sit up there and we’d laugh at people getting splashed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> That’s very Looney Tunes behavior. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Looney, looney. Yeah, Looney Tune behavior. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">All of those memories hold significance to me. And part of growing up in the neighborhood and, being able to paint in that parking lot, it’s crazy. We were evicted out of that apartment at a certain point, but 18th Street was a big part of my upbringing, and it was such a beautiful community. All different kinds of people from every walk of life living around us really embodied what the mission used to be, you know. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">This was the 90s? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">This was the 90s. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thank you for sharing that. That’s beautiful. Paint that picture for us, everything from the window sill to the interactions in the community.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Man… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And you mentioned your mother and as I understand that both of your parents are artists. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">They are, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. And I’m wondering, what role did they play in shaping you as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">My dad would get off of work and he’d come home and draw with us, or on the weekends we’d draw together. And, you know, my mom always encouraged art in the house. We always had art materials laying around. They didn’t stick me in front of the TV, they stuck me in front of a drawing pad. Which I hated, you know, because I, you know, you’d go to school and I would be talking about TV and stuff, but now I’m very grateful for it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You hear that, parents?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> And then on top of providing the resources, were there any specific techniques that they showed you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, my dad would sit down with me and show me how to, like, crosshatch and shade. And, I remember my mom showing me, shad— like, how to shadow, like, “look a lamp is pointed at this, uh, cylinder. Your shadow is going to come off this side.” So they taught me stuff like that. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My father had a huge comic book collection when I was a kid. Every Friday after work, he’d come home, we’d walk up Mission from 18th Street to 23rd. There’s a comic book shop on 23rd and Bartlett. He’d grab a stack of comic books, and that’s where I got a lot of inspiration from to, you know, like, underground comics and Spain Rodriguez, R. Crumb. My mom had a big collection of the Hernandez brothers comics called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Love and Rockets\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they were like, doing something in the other room, I’d get, I’d grab the ladder and go up to the shelf and pull down on R. Crumb book and run off into my room. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I like that whole, that whole underground comic scene, but then combining that with, like, everyday life in the neighborhood, you know, like cars cruising on Mission, Muni busses. That’s when it, like, it clicked for me and I was like, this is what I want to draw and paint. And then from then on, I was like, you know, coming up with wacky scenarios in my head, probably all that lead paint I chewed. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was, it goes back to the window. I was, I promise you, I was thinking that it goes back to the kid in the window, you know? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It does, you know? Yeah, I like having a good time with it. Like painting that mural on 18th Street. We were just joking with each other all day long, coming up with crazy scenarios and then painting them. We didn’t map anything out. We kind of just showed up there and started painting, and that’s what we came up with. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I got to give my high school teachers a lot of credit too, because, they played, I went to School of the Arts here in San Francisco, and they played a huge role in, you know, kind of shaping me and teaching me.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was stuck in a rut, you know, this was like ninth grade. I didn’t, I had all these fucking teachers telling me to do these, like, still lifes of fruit, like a vase with flowers and I hated it. And I had this one teacher tell me, “Just draw what you want to draw.” So I did, like, a popsicle man pushing a cart, but he’s a skeleton, you know. I put him in front of, like, a produce market on 23rd and Mission and that’s when my creativity flourished. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">At what point did young George, who used to draw and then eventually went to high school, when did he claim the title of an artist? When did you see yourself as such? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I still don’t like considering myself an artist. I just consider myself a painter. It’s fine to be called an artist, but I feel weird about, like, giving yourself that title. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So you not an artist, a painter, and and you walked in today with this beautiful piece that you did with a ballpoint pen. It’s beautiful, black and white, a 1937 Chevy bomber.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah, yeah, \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">..in front of a panaderia. This piece, that’s not painting, and so you’re still not an artist?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a drawing. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a drawing?! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Come on! \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">A ballpoint pen drawing. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You went through two ballpoint pens in making this drawing? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I did, yeah. I like to just work with whatever I got laying around, you know, and I think that’s important for a lot of people that create. You don’t need a $50 set of acrylic paint. You don’t need a canvas. Pick up a piece of cardboard or a piece of plywood off the street and just draw on it, or pick up a Sharpie and draw something on a wall. I think once people break through that boundary of being like, oh you know, I don’t have the right supplies or this or that, you can start rolling from there, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I love it. I was going to ask for some words of wisdom for the creatives out there, but that’s it: just create. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> So you’re a member of the ILWU, the International Longshore Workers Union. Talk to us about how that influences your creative practice. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being right on the waterfront under these huge cranes and trucks and machines and all of that’s super inspirational to me. Also, being up at like 4 or 5 in the morning, you see all different kinds of crazy shit on your way to work. And all of that plays a role in inspiration, you know, crazy sunrises and trains and freeways. And I take parts from my day to day surroundings and put them into my paintings at the end of the day. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Was it a big deal to get into the ILWU because from what I understood, like you can only get in if you have a relative in. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Well my dad’s right hand man for a long time, for a number of years, worked with my father. He put his name on the list in ‘99. They did uh… off-the-street hires, and he didn’t get a call until mid 2000, like ‘12, ‘10. When he became registered he got an interest card and he passed that along to me. So that was how I got in there. You know it’s been a, it’s a blessing. You know, have the benefits and the security. It’s a good gig. I feel lucky to be down there. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You posted on Instagram about the the local chapter passing a resolution calling for a cease fire in Gaza?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Can you talk about how organizing that came to be? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, it’s long overdue. In the past, our union has stood steadfast with dismantling apartheid in South Africa. And, we always stick up for, you know, the workers that get the lower end of the stick and the people that- oppressed people around the world. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our chairman of the Young Workers Committee, Bo Logo, you need to be at a certain level of seniority within the union to push forward a resolution, and he has that position. So he drafted up the resolution and pushed it forward, and it passed unanimously. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s a big deal! \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">And we, to my knowledge, are the only local that pushed forward a resolution for the ceasefire. And we’ve always been kind of more the-we’ve been more militant and radical here in the Bay area. And this is where, this is where the longshoremen started, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">During the general strike. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> General strike, a number of ports along the West Coast, you know, went on strike. And we… we were founded in ‘37. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It makes sense that the I-W-L-U… Sorry.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, ILWU, yeah.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> it’s hard to roll off the tongue. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">But, yeah. You know, they were so staunchly opposed to South African apartheid because in the 30s, not staunchly, it was a battle, but they were about integration when a lot of other unions weren’t. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah and a lot of the African Americans, you know, were brought in to scab, scab and to take the work over. And, Harry bridges said, look, if if we all come together, we’re all going to work together. We’re all workers, and, we’re going to get benefits and we’re going to get what we want. His promise was at the end of the day, there’d be a Black guy and a white guy on the dock together. And that’s what, you know, that was the start of the integration. And, today, my union’s 85% African-American. Yeah, we got a rich history. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We did a march on Market Street with the farm workers during the grape strike. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> In the 60s? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, in the 60s, our drill team met Martin Luther King at the airport and provided a security for him when he came to visit. We are super involved with the Black Panthers and um…\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">A couple of years ago, you guys gave Angela Davis, like, honorary status. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, yeah, yeah, our sister, Angela Davis, she’s an honorary member. Danny Glover was inducted recently. So there’s all this history within the union. And, when I got my letter in the mail for my safety training and my drug test and everything it was like a dream come true. I couldn’t think of a better union to be part of. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Also sounds like you have this like deep responsibility to others and to the city, in the land and the people. And I feel like that kind of shows up in the work you do to restore, like classic signs in the mission, like I’m thinking about the iconic Ben Davis mural, by Arik’s, or it was that Arik’s Supply Co before, they had an electrical fire and burned down. Can you talk about what led you to restore that mural? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t think we’re the first to restore it. I restored it with a friend of mine, Charlie. But it’s kind of our civic duty, you know. We think of it as, like, community service. So, you know, driving by it and seeing that, how it was, it needed to be fixed. And it’s been holding up pretty good. We’ve done it twice. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When did you first do it, in 2016?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Sometime around then. I can’t remember the exact year, but we went down there early in the morning with a drop cloth and a ladder, and we didn’t want an audience. We wanted to get in and out as fast as possible. So we started early, but we had people thanking us and offering to buy us beer and whatever. And it felt good, you know, doing something like that for the neighborhood. And we didn’t expect anything in return from it. We just love that sign. We’ve seen it for so long that… It almost felt like it was… It was like a mandatory thing for us to do. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You mentioned folks were hitting the horn and offering to buy you beer. Like for folks who don’t know, why is this sign so significant to Frisco kids? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s on the corner of Mission and Valencia, right where Mission and Valencia butt into each other. But that gorilla has been there ever, you know, it’s been there as long as I’ve been alive. And he’s grinning at you, and, it’s a symbol of resilience and resistance and in my opinion, you know, like a fading image of the working class here in San Francisco. And, it’s a killer sign. Glad that it’s still there. It’s a church now, I think. Did you see that? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t know if you know this, but the church owners said to the bar, bar owners next door that they will keep the mural\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Cool. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> They’re not going to touch it because they understand it has important value. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it’s our savior, Ben Davis. Right? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Our Lord and Savior. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What was your relationship like with the, with the brand? When did you start rocking the gear? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> We went out and bought Ben Davis shirts and like fifth or sixth grade, like me and a group of my friends because, my, my older, my friend’s older brother would wear it and we thought it was so cool. You know, we love striped Ben Davis shirts with the… the little zipper that came down on the, you know, with the collar. We all would wear Ben Davis to school. The school decided we can’t wear it, you can’t wear your Ben Davis no more because it’s, uh, street gang clothing.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I can remember correctly, a group of our dads went, went down there and talked to school and said, there’s no way you guys make them… can’t make them wear it. Where? Like, my friend’s dad was a muffler guy and he wore it. And my other friend’s dad was the janitor at the school and he wore it. So it was like, this has nothing to do with that, you know? So we won. We won our right to wear Ben Davis. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s beautiful. That’s what my, you know, fighting the system at a young age. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve been wearing it ever since. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The process of hand painting something. Why is that important to you? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s not cookie cutter, printed out on a printer or vinyl banner and you see so much of that now. Everything’s so digitalized now. So the importance of a hand-painted sign is it has character. You know, lines aren’t perfect. There’s drips. There’s paint on the sidewalk, You know.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The texture!\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s texture. There’s years of, you know, oh there’s been someone leaning against it in this corner so there’s a mark on it now. And you don’t get that with a vinyl banner. The sun, the sun will end up destroying it, and then it’ll be flapping there and…the signs really hold a lot of value, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> You pay a lot of attention to preserving technique, preserving culture through signs, iconography. I’m wondering, is there someone or a group of people you’re trying to pass your skills onto? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s just part of being from the city and growing up here. And, anyone that wants to pick up a brush and learn and, you know, just do it. I’m happy to teach you. I’ll show you as much as I know, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> But I guess it’s not only just like the technique. It’s like you’re… maybe you’re teaching people like, a perspective, like a way to go about your business. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. And I just kind of try to show, this sign’s been around since the 40s or the 50. So let’s preserve it. But I also don’t, you know, I’m not, I’m not here to tell people what to do either so… \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> I get that. Yeah, yeah. Do you have your eyes set on another sign? I mean, I know you also take care of the Lucca’s Ravioli one. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it got graffitied on, so we touch that up. All these places were like places that I’d go and walk to with my mom when I was a little kid. You know, my brother in the stroller. And I’d be walking along, and I just like keeping an eye on things. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> What about, I guess, can I volunteer you one, put it on your radar? It’s that burger joint on mission, but over in the Excelsior, like on Silver. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, you’re talking about “Joe Grinds His Fresh Chuck Daily.” Cable Car Joe’s? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Like that needs some love. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton-Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, that sign was too cool. Yeah. I never even ate a burger in there because we were when we were kids. They’re like, oh, those burgers are like 15 bucks. You know, when you’re young, you want to, like, buy some weed and like a 40, and you’d probably going to end up, like, splitting a burrito with three other people or something. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, you got to maximize.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Priorities. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, yeah.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for sharing that. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. Thank you. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Much appreciation to George Crampton Glassanos for bringing us into your world. For real tho! You drove us around in your truck and gave us a tour of basically your hall of fame… of murals. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re itching to see George’s work in person, I highly recommend you get yourself to 24th street or Mission & 18th. He’s got a bunch of pieces up on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up with him online, his Instagram handle is @paintergeorge415\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This episode was hosted by Marisol Medina-Cadena and myself, Pendarvis Harshaw. It was produced by Marisol Medina-Cadena. Chris Hambrick is our fierce editor. Christopher Beale is our wizard of an engineer. Sheree Bishop is the Rightnowish production intern. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Get out and see some art, hit the streets y’all. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Let George Crampton Glassanos tell it, he isn't an artist. He's a painter.","status":"publish","parent":0,"modified":1709266649,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":142,"wordCount":5293},"headData":{"title":"George Crampton Glassanos has Pendletons, Paint and Passion | KQED","description":"George Crampton Glassanos says he isn't an artist, he's a painter. Despite this assertion, his work is full of eye-catching colors and symbols representative of San Francisco's Mission district culture. It's born out of both a need to serve others, and George's personal urge to create. He's also driven by the need to advocate for the rights of working class people locally and abroad. This all adds to his paintings and drawings, but don't call it artwork. He recently stopped by KQED's headquarters to share a bit of his story, then he took us on a short ride to see a few of his hand painted signs and murals.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"George Crampton Glassanos says he isn't an artist, he's a painter. Despite this assertion, his work is full of eye-catching colors and symbols representative of San Francisco's Mission district culture. It's born out of both a need to serve others, and George's personal urge to create. He's also driven by the need to advocate for the rights of working class people locally and abroad. This all adds to his paintings and drawings, but don't call it artwork. He recently stopped by KQED's headquarters to share a bit of his story, then he took us on a short ride to see a few of his hand painted signs and murals."},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC8150831467.mp3?updated=1709173069","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953119/george-crampton-glassanos-has-pendletons-paint-and-passion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Let \u003ca href=\"https://www.instagram.com/paintergeorge415/\" target=\"_blank\" rel=\"noopener\">George Crampton Glassanos\u003c/a> tell it, he isn’t an artist.\u003c/p>\n\u003cp>Despite this, he’s painted numerous signs and murals throughout San Francisco’s Mission district— including one depicting a fly, black, droptop lowrider in front of the once beloved eatery, \u003ca href=\"https://www.doggiediner.info/\">Doggie Diner\u003c/a> and another of the legendary, charismatic gorilla logo of union-made work clothing company, Ben Davis.\u003c/p>\n\u003cp>George is firm on this: he isn’t an artist, he’s a painter.\u003c/p>\n\u003cfigure id=\"attachment_13953121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953121 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-800x600.jpg\" alt=\"Person in plaid button-up shirt standing in front of the Ben Davis sign, where the iconic logo of a yellow gorilla with a charismatic smile serves as the main image, and the words "World's Toughest Work Clothing" sits atop the sign. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Harry Crampton Glassanos standing in front of the Ben Davis sign he restored. (Pendarvis Harshaw/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>His work, full of eye-catching colors and symbols representative of the Mission’s culture, is utilitarian in nature. It’s born out of both a need to serve others, and George’s personal urge to create.\u003c/p>\n\u003cp>Raised on Lexington and San Carlos streets, George was an imaginative kid. His parents introduced him to the creative process and gave him basic art tools and a foundation to express himself (including comic books like \u003ca href=\"https://www.youtube.com/watch?v=lTYzqHRqRQU\">Love and Rockets\u003c/a>). That coupled with his memories of frequenting eateries and hanging out with friends, serves as the backdrop to his work.\u003c/p>\n\u003cp>Even when he wasn’t outside, George’s unique perspective on his neighborhood was further tailored by watching the world through a window overlooking 18th and Valencia streets. From that perch he began to create.\u003c/p>\n\u003cfigure id=\"attachment_13953179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-800x533.jpg\" alt=\"A person wearing sunglasses holds up a jacket with "International Longshoremen's Warehousemen's Union" written on it.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Harry Crampton Glassanos holds up his International Longshoremen’s and Warehouse’s Union (ILWU) jacket in front of a mural he painted in Clarion Alley in San Francisco’s Mission District on Nov. 28, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years later, George is a proud member of \u003ca href=\"https://www.ilwu.org/\" target=\"_blank\" rel=\"noopener\">The International Longshoremen’s and Warehousemen’s Union (ILWU).\u003c/a> He gets creative inspiration from getting up early to take in the sunrise and listen to the birds. He’s also driven by the need to advocate for the rights of working class people, locally and abroad. This all adds to his paintings and drawings, but don’t call it artwork.\u003c/p>\n\u003cp>He recently stopped by KQED’s headquarters to share a bit of his story, then he took us on a short ride to see a few of his hand painted signs and murals— his work.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8150831467\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey, what’s up Rightnowish listeners. It’s the dream team Pendarvis Harshaw\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">and Marisol Medina-Cadena!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Today’s episode has us locked in The Mission, starting at a parking lot off 18th and Valencia. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s where I caught up with painter\u003c/span> \u003cspan style=\"font-weight: 400\">George Crampton Glassanos putting the final touches on his latest mural. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That parking lot is near and dear to George because it’s the main intersection where he grew up \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">This street’s completely changed. You know, it’s like you’re in the Marina now or something. It’s completely wacky. I don’t think anyone ever thought it was going to be like this when I was a kid, you know? Growing up right here, Valencia Street was no man’s land, given the few auto body shops. But it was like a lot of gas stations, auto, uh, used car lots, a lot of appliance stores. Which is cool that we’re painting this mural on, on the Cherin’s, in the Cherin’s parking lot. Cherin’s has been here since 1892. They sell refrigerators and washing machines and stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I remember this whole street just being like, a crazy mix of working class people, you know, different families. There was a guy next door to us that lived on the ground floor, corner apartment, right there on Lexington. And his family came up from the South during World War II to work in the shipyards. We had all different types of neighbors from different countries, you know. It wasn’t just Latinos. There’s a lot of Asian folks and I do remember Eastern Europeans in the neighborhood. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">George’s memories of the way the neighborhood was back iin the 90s, find their way into his work. Living in the bay, where murals are a-plenty, I think we residents take these large scale works of art for granted. They become like wallpaper. But when you stop to really look at the stories these walls tell, you can learn a lot about a place, its history and the people who came before us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassnos:\u003c/b> \u003cspan style=\"font-weight: 400\">To be able to paint right here on this corner has been a real treat, completely different from painting at home, you know. Painting outside, you you’re on a ladder and there’s cars flying by and people walking by, and it’s a whole other experience than painting on a canvas at home. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">George and his friend named the mural the “Four-Fifteenth Dimension.” It portrays a night out at a drive-in movie theater. Parked lowriders face a projection screen. And in each corner is a depiction of different Mission institutions like Doggie Diner, Hunt’s Donuts, and the 500 Club. It looks like a scene straight out of a comic book.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b> \u003cspan style=\"font-weight: 400\">I wanted to stick with, like, the theme of, like, new and old and, like, ancient civilizations fitting in with, like, modern or, you know, 1980’s burger stand. So I put the pyramid in just to kind of pay respects to, you know, the people that were here before us. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We’ll hear more about George Crampton Glassanos’ work and the message of caretaking that he’s spreading, right after this message.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I thought we could start by just talking about your… your threads. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Because every time I see you in the mission, you’re always wearing really cool outfits. Like jackets. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> So what are you wearing today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I wore a Pendleton. I dressed up because I wear my work clothes all week long, so when the weekend rolls around, I like to put on a nice outfit. It’s also the, you know, it’s that time of year it’s cold out, and Pendleton keeps you warm. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, back in November, when we first started talking to you, I caught up with you and your friend, 18th and Valencia. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Painting that mural. It’s finished now. So what’s the reception been like?\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">The other day I drove by it after high school got out, up at Mission High school. And there’s a big group of kids in there, you know, with their backpacks and skateboards, and they were all checking it out, so that makes me feel good, driving by and seeing the youth checking it out. That’s who it’s for: it’s for the kids. And, you know, my neighbors that are still there on that street that I grew up on a lot of… a lot of people left. A lot of people got pushed out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> Why is that street corner significant to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> I have memories of standing in the window as a kid, and I came up to, like, right at right to, like, the window sill when I was a kid. So I’d sit there in that fucking window for hours, and I’d look at cars driving by on the street, and my mom was like, “I couldn’t figure out what your obsession was with cars.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And we chewed on the window sill and, you know, this, like, lead paint, okay?And so, I just sit up there in that window, chewing on the window sill, and I could see that parking lot from my window. And across from the parking lot there was another, empty lot. It’s a condo now, but that was a used car dealership.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I had a whole view of that street, and there was a puddle that would form across the street from my house. And this was back in the day, so they had rush hour. They make you move your car at a certain time in the afternoon. It was like commute hours, so there’d be no cars on 18th. It was like four lanes, two lanes going down and two lanes going up. And you’d watch cars come tearing down the street and hit this puddle and it would soak people on the sidewalk. So that was our entertainment, you know, we’d sit up there and we’d laugh at people getting splashed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> That’s very Looney Tunes behavior. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Looney, looney. Yeah, Looney Tune behavior. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">All of those memories hold significance to me. And part of growing up in the neighborhood and, being able to paint in that parking lot, it’s crazy. We were evicted out of that apartment at a certain point, but 18th Street was a big part of my upbringing, and it was such a beautiful community. All different kinds of people from every walk of life living around us really embodied what the mission used to be, you know. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">This was the 90s? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">This was the 90s. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thank you for sharing that. That’s beautiful. Paint that picture for us, everything from the window sill to the interactions in the community.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Man… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And you mentioned your mother and as I understand that both of your parents are artists. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">They are, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. And I’m wondering, what role did they play in shaping you as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">My dad would get off of work and he’d come home and draw with us, or on the weekends we’d draw together. And, you know, my mom always encouraged art in the house. We always had art materials laying around. They didn’t stick me in front of the TV, they stuck me in front of a drawing pad. Which I hated, you know, because I, you know, you’d go to school and I would be talking about TV and stuff, but now I’m very grateful for it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You hear that, parents?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> And then on top of providing the resources, were there any specific techniques that they showed you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, my dad would sit down with me and show me how to, like, crosshatch and shade. And, I remember my mom showing me, shad— like, how to shadow, like, “look a lamp is pointed at this, uh, cylinder. Your shadow is going to come off this side.” So they taught me stuff like that. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My father had a huge comic book collection when I was a kid. Every Friday after work, he’d come home, we’d walk up Mission from 18th Street to 23rd. There’s a comic book shop on 23rd and Bartlett. He’d grab a stack of comic books, and that’s where I got a lot of inspiration from to, you know, like, underground comics and Spain Rodriguez, R. Crumb. My mom had a big collection of the Hernandez brothers comics called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Love and Rockets\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they were like, doing something in the other room, I’d get, I’d grab the ladder and go up to the shelf and pull down on R. Crumb book and run off into my room. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I like that whole, that whole underground comic scene, but then combining that with, like, everyday life in the neighborhood, you know, like cars cruising on Mission, Muni busses. That’s when it, like, it clicked for me and I was like, this is what I want to draw and paint. And then from then on, I was like, you know, coming up with wacky scenarios in my head, probably all that lead paint I chewed. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was, it goes back to the window. I was, I promise you, I was thinking that it goes back to the kid in the window, you know? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It does, you know? Yeah, I like having a good time with it. Like painting that mural on 18th Street. We were just joking with each other all day long, coming up with crazy scenarios and then painting them. We didn’t map anything out. We kind of just showed up there and started painting, and that’s what we came up with. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I got to give my high school teachers a lot of credit too, because, they played, I went to School of the Arts here in San Francisco, and they played a huge role in, you know, kind of shaping me and teaching me.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was stuck in a rut, you know, this was like ninth grade. I didn’t, I had all these fucking teachers telling me to do these, like, still lifes of fruit, like a vase with flowers and I hated it. And I had this one teacher tell me, “Just draw what you want to draw.” So I did, like, a popsicle man pushing a cart, but he’s a skeleton, you know. I put him in front of, like, a produce market on 23rd and Mission and that’s when my creativity flourished. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">At what point did young George, who used to draw and then eventually went to high school, when did he claim the title of an artist? When did you see yourself as such? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I still don’t like considering myself an artist. I just consider myself a painter. It’s fine to be called an artist, but I feel weird about, like, giving yourself that title. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So you not an artist, a painter, and and you walked in today with this beautiful piece that you did with a ballpoint pen. It’s beautiful, black and white, a 1937 Chevy bomber.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah, yeah, \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">..in front of a panaderia. This piece, that’s not painting, and so you’re still not an artist?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a drawing. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a drawing?! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Come on! \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">A ballpoint pen drawing. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You went through two ballpoint pens in making this drawing? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I did, yeah. I like to just work with whatever I got laying around, you know, and I think that’s important for a lot of people that create. You don’t need a $50 set of acrylic paint. You don’t need a canvas. Pick up a piece of cardboard or a piece of plywood off the street and just draw on it, or pick up a Sharpie and draw something on a wall. I think once people break through that boundary of being like, oh you know, I don’t have the right supplies or this or that, you can start rolling from there, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I love it. I was going to ask for some words of wisdom for the creatives out there, but that’s it: just create. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> So you’re a member of the ILWU, the International Longshore Workers Union. Talk to us about how that influences your creative practice. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being right on the waterfront under these huge cranes and trucks and machines and all of that’s super inspirational to me. Also, being up at like 4 or 5 in the morning, you see all different kinds of crazy shit on your way to work. And all of that plays a role in inspiration, you know, crazy sunrises and trains and freeways. And I take parts from my day to day surroundings and put them into my paintings at the end of the day. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Was it a big deal to get into the ILWU because from what I understood, like you can only get in if you have a relative in. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Well my dad’s right hand man for a long time, for a number of years, worked with my father. He put his name on the list in ‘99. They did uh… off-the-street hires, and he didn’t get a call until mid 2000, like ‘12, ‘10. When he became registered he got an interest card and he passed that along to me. So that was how I got in there. You know it’s been a, it’s a blessing. You know, have the benefits and the security. It’s a good gig. I feel lucky to be down there. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You posted on Instagram about the the local chapter passing a resolution calling for a cease fire in Gaza?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Can you talk about how organizing that came to be? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, it’s long overdue. In the past, our union has stood steadfast with dismantling apartheid in South Africa. And, we always stick up for, you know, the workers that get the lower end of the stick and the people that- oppressed people around the world. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our chairman of the Young Workers Committee, Bo Logo, you need to be at a certain level of seniority within the union to push forward a resolution, and he has that position. So he drafted up the resolution and pushed it forward, and it passed unanimously. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s a big deal! \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">And we, to my knowledge, are the only local that pushed forward a resolution for the ceasefire. And we’ve always been kind of more the-we’ve been more militant and radical here in the Bay area. And this is where, this is where the longshoremen started, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">During the general strike. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> General strike, a number of ports along the West Coast, you know, went on strike. And we… we were founded in ‘37. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It makes sense that the I-W-L-U… Sorry.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, ILWU, yeah.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> it’s hard to roll off the tongue. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">But, yeah. You know, they were so staunchly opposed to South African apartheid because in the 30s, not staunchly, it was a battle, but they were about integration when a lot of other unions weren’t. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah and a lot of the African Americans, you know, were brought in to scab, scab and to take the work over. And, Harry bridges said, look, if if we all come together, we’re all going to work together. We’re all workers, and, we’re going to get benefits and we’re going to get what we want. His promise was at the end of the day, there’d be a Black guy and a white guy on the dock together. And that’s what, you know, that was the start of the integration. And, today, my union’s 85% African-American. Yeah, we got a rich history. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We did a march on Market Street with the farm workers during the grape strike. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> In the 60s? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, in the 60s, our drill team met Martin Luther King at the airport and provided a security for him when he came to visit. We are super involved with the Black Panthers and um…\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">A couple of years ago, you guys gave Angela Davis, like, honorary status. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, yeah, yeah, our sister, Angela Davis, she’s an honorary member. Danny Glover was inducted recently. So there’s all this history within the union. And, when I got my letter in the mail for my safety training and my drug test and everything it was like a dream come true. I couldn’t think of a better union to be part of. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Also sounds like you have this like deep responsibility to others and to the city, in the land and the people. And I feel like that kind of shows up in the work you do to restore, like classic signs in the mission, like I’m thinking about the iconic Ben Davis mural, by Arik’s, or it was that Arik’s Supply Co before, they had an electrical fire and burned down. Can you talk about what led you to restore that mural? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t think we’re the first to restore it. I restored it with a friend of mine, Charlie. But it’s kind of our civic duty, you know. We think of it as, like, community service. So, you know, driving by it and seeing that, how it was, it needed to be fixed. And it’s been holding up pretty good. We’ve done it twice. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When did you first do it, in 2016?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Sometime around then. I can’t remember the exact year, but we went down there early in the morning with a drop cloth and a ladder, and we didn’t want an audience. We wanted to get in and out as fast as possible. So we started early, but we had people thanking us and offering to buy us beer and whatever. And it felt good, you know, doing something like that for the neighborhood. And we didn’t expect anything in return from it. We just love that sign. We’ve seen it for so long that… It almost felt like it was… It was like a mandatory thing for us to do. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You mentioned folks were hitting the horn and offering to buy you beer. Like for folks who don’t know, why is this sign so significant to Frisco kids? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s on the corner of Mission and Valencia, right where Mission and Valencia butt into each other. But that gorilla has been there ever, you know, it’s been there as long as I’ve been alive. And he’s grinning at you, and, it’s a symbol of resilience and resistance and in my opinion, you know, like a fading image of the working class here in San Francisco. And, it’s a killer sign. Glad that it’s still there. It’s a church now, I think. Did you see that? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t know if you know this, but the church owners said to the bar, bar owners next door that they will keep the mural\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Cool. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> They’re not going to touch it because they understand it has important value. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it’s our savior, Ben Davis. Right? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Our Lord and Savior. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What was your relationship like with the, with the brand? When did you start rocking the gear? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> We went out and bought Ben Davis shirts and like fifth or sixth grade, like me and a group of my friends because, my, my older, my friend’s older brother would wear it and we thought it was so cool. You know, we love striped Ben Davis shirts with the… the little zipper that came down on the, you know, with the collar. We all would wear Ben Davis to school. The school decided we can’t wear it, you can’t wear your Ben Davis no more because it’s, uh, street gang clothing.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I can remember correctly, a group of our dads went, went down there and talked to school and said, there’s no way you guys make them… can’t make them wear it. Where? Like, my friend’s dad was a muffler guy and he wore it. And my other friend’s dad was the janitor at the school and he wore it. So it was like, this has nothing to do with that, you know? So we won. We won our right to wear Ben Davis. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s beautiful. That’s what my, you know, fighting the system at a young age. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve been wearing it ever since. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The process of hand painting something. Why is that important to you? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s not cookie cutter, printed out on a printer or vinyl banner and you see so much of that now. Everything’s so digitalized now. So the importance of a hand-painted sign is it has character. You know, lines aren’t perfect. There’s drips. There’s paint on the sidewalk, You know.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The texture!\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s texture. There’s years of, you know, oh there’s been someone leaning against it in this corner so there’s a mark on it now. And you don’t get that with a vinyl banner. The sun, the sun will end up destroying it, and then it’ll be flapping there and…the signs really hold a lot of value, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> You pay a lot of attention to preserving technique, preserving culture through signs, iconography. I’m wondering, is there someone or a group of people you’re trying to pass your skills onto? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s just part of being from the city and growing up here. And, anyone that wants to pick up a brush and learn and, you know, just do it. I’m happy to teach you. I’ll show you as much as I know, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> But I guess it’s not only just like the technique. It’s like you’re… maybe you’re teaching people like, a perspective, like a way to go about your business. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. And I just kind of try to show, this sign’s been around since the 40s or the 50. So let’s preserve it. But I also don’t, you know, I’m not, I’m not here to tell people what to do either so… \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> I get that. Yeah, yeah. Do you have your eyes set on another sign? I mean, I know you also take care of the Lucca’s Ravioli one. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it got graffitied on, so we touch that up. All these places were like places that I’d go and walk to with my mom when I was a little kid. You know, my brother in the stroller. And I’d be walking along, and I just like keeping an eye on things. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> What about, I guess, can I volunteer you one, put it on your radar? It’s that burger joint on mission, but over in the Excelsior, like on Silver. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, you’re talking about “Joe Grinds His Fresh Chuck Daily.” Cable Car Joe’s? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Like that needs some love. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton-Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, that sign was too cool. Yeah. I never even ate a burger in there because we were when we were kids. They’re like, oh, those burgers are like 15 bucks. You know, when you’re young, you want to, like, buy some weed and like a 40, and you’d probably going to end up, like, splitting a burrito with three other people or something. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, you got to maximize.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Priorities. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, yeah.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for sharing that. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. Thank you. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Much appreciation to George Crampton Glassanos for bringing us into your world. For real tho! You drove us around in your truck and gave us a tour of basically your hall of fame… of murals. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re itching to see George’s work in person, I highly recommend you get yourself to 24th street or Mission & 18th. He’s got a bunch of pieces up on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up with him online, his Instagram handle is @paintergeorge415\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This episode was hosted by Marisol Medina-Cadena and myself, Pendarvis Harshaw. It was produced by Marisol Medina-Cadena. Chris Hambrick is our fierce editor. Christopher Beale is our wizard of an engineer. Sheree Bishop is the Rightnowish production intern. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Get out and see some art, hit the streets y’all. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953119/george-crampton-glassanos-has-pendletons-paint-and-passion","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1"],"tags":["arts_21983","arts_21982","arts_1257","arts_1737","arts_1146","arts_21264","arts_21984"],"featImg":"arts_13953120","label":"arts_8720"},"arts_13953207":{"type":"posts","id":"arts_13953207","meta":{"index":"posts_1591205157","site":"arts","id":"13953207","found":true},"guestAuthors":[],"slug":"girl-scout-cookies-behind-the-scenes-parents","title":"My Daughters Sold Girl Scout Cookies. Here’s what I Learned in the Thin Mint Trenches","publishDate":1709233889,"format":"standard","headTitle":"My Daughters Sold Girl Scout Cookies. Here’s what I Learned in the Thin Mint Trenches | KQED","labelTerm":{},"content":"\u003cp>It’s 9:15 on a cold Monday morning, and six Girl Scout parents are giving full-on military op vibes.\u003c/p>\n\u003cp>Five moms and I are standing on a sidewalk, holding mugs of coffee and tea as we run through logistics. We have an action plan, and a goal: We’re picking up nearly 3,300 packages of cookies for our Girl Scout troop and taking them to our homes-turned-mini-warehouses.\u003c/p>\n\u003cp>“We’ll probably need a sort of Checkpoint Bravo, a place to regroup in case we get separated,” our cookie manager, Ali Ray Cavanaugh, says.\u003c/p>\n\u003cp>[aside postid='arts_13935114']Today, we’re part of the Girl Scouts Army. We’ll drive in a convoy across Washington, D.C., to a massive parking lot where our vehicles — two minivans, two Subarus and two SUVs — will be crammed with as many cookies as they can hold.\u003c/p>\n\u003cp>As a lifelong fan of Girl Scout Cookies but also a never-scout (a term no one, as far as I can tell, uses), I’m low-key buzzing at being let into the inner circle, where we’re relied on to Do The Thing. A successful run today means all the cookie promises our Daisies, Brownies and Juniors made will be kept, on schedule.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As we head out, I hold two not-necessarily conflicting ideas in my mind: I’m glad I can do this for my two daughters; and this is one way Girl Scouts outsources core functions to parent volunteers.\u003c/p>\n\u003ch3>Cookies rule everything around me\u003c/h3>\n\u003cfigure id=\"attachment_13953209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-thin-mints_wide-b48a65ec437ea3e64c85cdf5a91344c0ab16cf0d-scaled-e1709230743162.jpg\" alt=\"A man carries a pile of green and brown boxes to a vehicle, while a woman dressed for winter stands behind a wall of the same boxes.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Cookie pickup day is a test of logistics for Girl Scout parents, who fill their cars with as many cookies as they can hold. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our cookie pickup objective might sound fun, but we’re all about the mission. After all, this task requires at least three hours — and we’re taking time away from our (paying) jobs to do this (nonpaying) work.\u003c/p>\n\u003cp>We have a special group chat for this trip. When we get separated in traffic, we use Google Map pins and phone calls to ensure our team can recombine before entering the pickup zone. There, we join a snake of cars pulsing down a long incline into a huge lot, where we coil our way between 18-wheelers with trailers full of Thin Mints, Samoas and Adventurefuls.\u003c/p>\n\u003cp>[aside postid='arts_13940127']If you were picturing the Girl Scouts inner circle like a Wonka-like scene of Tagalong rainbows and Do-si-do stools, this ain’t it. It reminds me of large-scale relief efforts I’ve visited for NPR, where the sole objective is to distribute massive quantities of food. At this one delivery site, 170,000 packages of cookies are being dispersed.\u003c/p>\n\u003cp>“Last year, our Girl Scouts sold 4.4 million packages across the entire council” in the Washington, D.C., area, council chief financial officer, Jessica McClain, told me.\u003c/p>\n\u003cp>After picking up hundreds of cardboard cases, we hand-carry the precious cargo into cookie manager Cavanaugh’s large basement. From there, cookies are portioned out to Girl Scouts to deliver to their customers. Hundreds more boxes are earmarked for cookie booth sales.\u003c/p>\n\u003cp>Our houses are transformed into glorified cookie cupboards. Reader, as I write this story at home, four cases of cookies sit by my elbow.\u003c/p>\n\u003ch3>Girl Scout Cookies are a $1 billion industry\u003c/h3>\n\u003cfigure id=\"attachment_13953212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-cookie-line_wide-8a6ff20c194886799d972c98be7ad690e09b9491-scaled-e1709232740587.jpg\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">A line of cars stretches down into a parking lot where semitrailers are waiting to unload Girl Scout Cookies in Washington, D.C. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing with these cookies is, they’re really good,” a Girl Scout dad told me, as we watched our daughters rake in money at a cookie booth.\u003c/p>\n\u003cp>In a normal year, the Girl Scouts of the United States of America will sell about 200 million boxes of cookies, as NPR’s Scott Horsley \u003ca href=\"https://www.npr.org/2023/10/11/1205245173/inflation-hitting-where-it-hurts-the-price-of-girl-scout-cookies-is-going-up\">reported last year\u003c/a>. The national organization \u003ca href=\"https://www.girlscouts.org/content/dam/girlscouts-gsusa/forms-and-documents/about-girl-scouts/research/GSUSA_Todays-Girls-Tomorrows-Entrepreneurs_The-Girl-Scout-Difference.pdf\">calls it\u003c/a> “the largest girl-led entrepreneurship program in the world,” with nearly 700,000 Girl Scouts participating.\u003c/p>\n\u003cp>You’ve probably heard about cookie prices going up. The vast majority of troops are now selling boxes for between $5 and $7. If the girls hit that 200 million mark this year, cookie revenue would eclipse $1 billion. So, I asked, how much do the girls see in profits?\u003c/p>\n\u003cp>“Last year, our troops earned over $4.5 million in proceeds,” McClain said.\u003c/p>\n\u003cp>For perspective, our council, Girl Scouts Nation’s Capital, is pretty large, she added, with about 4,000 troops.\u003c/p>\n\u003cp>In some ways, the Girl Scouts operates with top-down control of what are essentially local franchises. But the cookie-business aspect of the nonprofit is distributed pretty widely. To buy cookies in bulk, each council makes its own contract with one of the two big baking companies, ABC Bakers and Little Brownie Bakers — which in turn pay licensing fees to the national organization.\u003c/p>\n\u003cp>[aside postid='arts_13950436']The amount of proceeds each troop is able to keep varies. I asked McClain how it breaks down for our council.\u003c/p>\n\u003cp>“I would start with saying none of it goes to the national organization,” she said. “About 25% to 30% of the price goes to the troops themselves,” to use as they choose.\u003c/p>\n\u003cp>Another chunk goes to direct costs — the cookies themselves, and transportation.\u003c/p>\n\u003cp>“That can be up to about 40% with that piece of it,” McClain said.\u003c/p>\n\u003cp>Some money goes toward activities, she said: “We use about 10% of those funds to support the outdoor program for all of our Girl Scouts in our council.”\u003c/p>\n\u003cp>“There’s also about 14, 15% that goes to customer support,” such as technology underpinning the sales operation, she said.\u003c/p>\n\u003cp>Money also goes toward things like the rewards girls earn by hitting sales goals, and for operational costs.\u003c/p>\n\u003ch3>Parents are a multiskilled volunteer workforce\u003c/h3>\n\u003cfigure id=\"attachment_13953210\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-trefoil-stack_wide-b6b309fcafe51f9158c783d89009f094f408cd0f-scaled-e1709232897960.jpg\" alt=\"Piles of blue and brown boxes sit next to a U-Haul truck.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Volunteers load Trefoils and other Girl Scout Cookies at a huge parking lot near the RFK stadium in Washington, D.C. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The reality of Girl Scout Cookies may not be Wonka-like, but parents can be forgiven for feeling like Oompa Loompas — the hardworking cogs in a well-oiled machine.\u003c/p>\n\u003cp>Whatever a troop’s parents do for a living, Girl Scouts calls on them to hone a very specific set of skills, from making accurate sales projections (each troop is on the hook to pay for every cookie box they order) to managing spreadsheets and deliveries as late orders come in. Finally, they’ll reconcile a mix of cash, online orders and Venmo payments to ensure everything adds up.\u003c/p>\n\u003cp>[aside postid='arts_13951141']“We know it’s a lot of work. We know it is a heavy lift,” McClain told me, calling volunteers the lifeblood of the system.\u003c/p>\n\u003cp>Parents tout their kid’s online cookie store, sharing links on Facebook, in emails, at work — wherever a possible sale is lurking. They help girls sort the orders and make deliveries. They volunteer at cookie booths. Some, like me, also make surplus orders to cover all the folks who didn’t realize Girl Scout cookie season was coming. Those packages can go fast: When my girls brought about 25 boxes — or about $120 worth — of cookies to NPR’s headquarters, they sold out in 45 minutes.\u003c/p>\n\u003cp>All of this happens in parallel to the actual work of running the troop — setting up meetings and activities, ensuring the girls have the right materials, and planning what to do with the proceeds from cookie sales.\u003c/p>\n\u003ch3>So, why do parents do it?\u003c/h3>\n\u003cfigure id=\"attachment_13953211\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/2024-02-05t153910z_673457320_mt1usatoday22449417_rtrmadp_3_girl-scouts-provided-a-chance-for-the-love-local-crowd-to_wide-e3de932f4a9e5f65ad35f470c92a427c935b7783-scaled-e1709233147372.jpg\" alt=\"Cold parents and young people stand behind tables selling girl scouts cookies.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Cookie booth sales like this one in Michigan let Girl Scouts (and their parents) broaden their customer base. \u003ccite>(Don Reid/ Coldwater Daily Report/ USA Today Network/ Reuters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First of all: I’m glad to be able to support my daughters’ troop, to put time and money toward their experience.\u003c/p>\n\u003cp>I enjoy learning what it’s all about, and seeing my daughters spend time with friends in their troop. As for the cookie program, the Girl Scouts traditionally emphasizes the business training — things like setting goals, making marketing and spending decisions, and being responsible and ethical.\u003c/p>\n\u003cp>“We’re trying to teach entrepreneurial skills,” McClain said.\u003c/p>\n\u003cp>[aside postid='arts_13953078']Then there are the rewards for their labor. While some parents I’ve talked to say they wish the kids got a bigger share of the revenue, our troop does get enough money to do special things. And while adults do a lot of work to make it happen, we’re fine with the girls deciding how to spend it — they usually hold a vote to decide on the best options.\u003c/p>\n\u003cp>If you ever visit a cookie booth and want to know where the girls’ money goes, just ask.\u003c/p>\n\u003cp>“We are raising money to go camping and horseback riding,” Eva Kelly, a junior in our troop, told me at our sale.\u003c/p>\n\u003cp>They also want to learn how to cook, my daughter Mattie added: “We’ve got to learn how to make basic meals while we’re camping.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If all goes well, they’ll be at that camp this summer — and some Girl Scout parents will be able to take a break, as well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=My+daughters+sold+Girl+Scout+Cookies.+Here%27s+what+I+learned+in+the+Thin+Mint+trenches&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"There are no Wonka-like Tagalong rainbows and Do-si-do stools — but parents can be forgiven for feeling like Oompa Loompas.","status":"publish","parent":0,"modified":1709233889,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":1594},"headData":{"title":"Selling Girl Scout Cookies: Behind the Scenes | KQED","description":"There are no Wonka-like Tagalong rainbows and Do-si-do stools — but parents can be forgiven for feeling like Oompa Loompas.","ogTitle":"My Daughters Sold Girl Scout Cookies. Here’s what I Learned in the Thin Mint Trenches","ogDescription":"","ogImgId":"","twTitle":"My Daughters Sold Girl Scout Cookies. Here’s what I Learned in the Thin Mint Trenches","twDescription":"","twImgId":"","socialTitle":"Selling Girl Scout Cookies: Behind the Scenes %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprImageCredit":"Bill Chappell","nprByline":"Bill Chappell","nprImageAgency":"NPR","nprStoryId":"1234163657","nprApiLink":"http://api.npr.org/query?id=1234163657&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/02/29/1234163657/girl-scout-cookies-thin-mints-how-it-works?ft=nprml&f=1234163657","nprRetrievedStory":"1","nprPubDate":"Thu, 29 Feb 2024 09:36:00 -0500","nprStoryDate":"Thu, 29 Feb 2024 09:10:10 -0500","nprLastModifiedDate":"Thu, 29 Feb 2024 09:36:01 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953207/girl-scout-cookies-behind-the-scenes-parents","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 9:15 on a cold Monday morning, and six Girl Scout parents are giving full-on military op vibes.\u003c/p>\n\u003cp>Five moms and I are standing on a sidewalk, holding mugs of coffee and tea as we run through logistics. We have an action plan, and a goal: We’re picking up nearly 3,300 packages of cookies for our Girl Scout troop and taking them to our homes-turned-mini-warehouses.\u003c/p>\n\u003cp>“We’ll probably need a sort of Checkpoint Bravo, a place to regroup in case we get separated,” our cookie manager, Ali Ray Cavanaugh, says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935114","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Today, we’re part of the Girl Scouts Army. We’ll drive in a convoy across Washington, D.C., to a massive parking lot where our vehicles — two minivans, two Subarus and two SUVs — will be crammed with as many cookies as they can hold.\u003c/p>\n\u003cp>As a lifelong fan of Girl Scout Cookies but also a never-scout (a term no one, as far as I can tell, uses), I’m low-key buzzing at being let into the inner circle, where we’re relied on to Do The Thing. A successful run today means all the cookie promises our Daisies, Brownies and Juniors made will be kept, on schedule.\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 we head out, I hold two not-necessarily conflicting ideas in my mind: I’m glad I can do this for my two daughters; and this is one way Girl Scouts outsources core functions to parent volunteers.\u003c/p>\n\u003ch3>Cookies rule everything around me\u003c/h3>\n\u003cfigure id=\"attachment_13953209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-thin-mints_wide-b48a65ec437ea3e64c85cdf5a91344c0ab16cf0d-scaled-e1709230743162.jpg\" alt=\"A man carries a pile of green and brown boxes to a vehicle, while a woman dressed for winter stands behind a wall of the same boxes.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Cookie pickup day is a test of logistics for Girl Scout parents, who fill their cars with as many cookies as they can hold. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our cookie pickup objective might sound fun, but we’re all about the mission. After all, this task requires at least three hours — and we’re taking time away from our (paying) jobs to do this (nonpaying) work.\u003c/p>\n\u003cp>We have a special group chat for this trip. When we get separated in traffic, we use Google Map pins and phone calls to ensure our team can recombine before entering the pickup zone. There, we join a snake of cars pulsing down a long incline into a huge lot, where we coil our way between 18-wheelers with trailers full of Thin Mints, Samoas and Adventurefuls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940127","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>If you were picturing the Girl Scouts inner circle like a Wonka-like scene of Tagalong rainbows and Do-si-do stools, this ain’t it. It reminds me of large-scale relief efforts I’ve visited for NPR, where the sole objective is to distribute massive quantities of food. At this one delivery site, 170,000 packages of cookies are being dispersed.\u003c/p>\n\u003cp>“Last year, our Girl Scouts sold 4.4 million packages across the entire council” in the Washington, D.C., area, council chief financial officer, Jessica McClain, told me.\u003c/p>\n\u003cp>After picking up hundreds of cardboard cases, we hand-carry the precious cargo into cookie manager Cavanaugh’s large basement. From there, cookies are portioned out to Girl Scouts to deliver to their customers. Hundreds more boxes are earmarked for cookie booth sales.\u003c/p>\n\u003cp>Our houses are transformed into glorified cookie cupboards. Reader, as I write this story at home, four cases of cookies sit by my elbow.\u003c/p>\n\u003ch3>Girl Scout Cookies are a $1 billion industry\u003c/h3>\n\u003cfigure id=\"attachment_13953212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-cookie-line_wide-8a6ff20c194886799d972c98be7ad690e09b9491-scaled-e1709232740587.jpg\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">A line of cars stretches down into a parking lot where semitrailers are waiting to unload Girl Scout Cookies in Washington, D.C. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing with these cookies is, they’re really good,” a Girl Scout dad told me, as we watched our daughters rake in money at a cookie booth.\u003c/p>\n\u003cp>In a normal year, the Girl Scouts of the United States of America will sell about 200 million boxes of cookies, as NPR’s Scott Horsley \u003ca href=\"https://www.npr.org/2023/10/11/1205245173/inflation-hitting-where-it-hurts-the-price-of-girl-scout-cookies-is-going-up\">reported last year\u003c/a>. The national organization \u003ca href=\"https://www.girlscouts.org/content/dam/girlscouts-gsusa/forms-and-documents/about-girl-scouts/research/GSUSA_Todays-Girls-Tomorrows-Entrepreneurs_The-Girl-Scout-Difference.pdf\">calls it\u003c/a> “the largest girl-led entrepreneurship program in the world,” with nearly 700,000 Girl Scouts participating.\u003c/p>\n\u003cp>You’ve probably heard about cookie prices going up. The vast majority of troops are now selling boxes for between $5 and $7. If the girls hit that 200 million mark this year, cookie revenue would eclipse $1 billion. So, I asked, how much do the girls see in profits?\u003c/p>\n\u003cp>“Last year, our troops earned over $4.5 million in proceeds,” McClain said.\u003c/p>\n\u003cp>For perspective, our council, Girl Scouts Nation’s Capital, is pretty large, she added, with about 4,000 troops.\u003c/p>\n\u003cp>In some ways, the Girl Scouts operates with top-down control of what are essentially local franchises. But the cookie-business aspect of the nonprofit is distributed pretty widely. To buy cookies in bulk, each council makes its own contract with one of the two big baking companies, ABC Bakers and Little Brownie Bakers — which in turn pay licensing fees to the national organization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950436","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The amount of proceeds each troop is able to keep varies. I asked McClain how it breaks down for our council.\u003c/p>\n\u003cp>“I would start with saying none of it goes to the national organization,” she said. “About 25% to 30% of the price goes to the troops themselves,” to use as they choose.\u003c/p>\n\u003cp>Another chunk goes to direct costs — the cookies themselves, and transportation.\u003c/p>\n\u003cp>“That can be up to about 40% with that piece of it,” McClain said.\u003c/p>\n\u003cp>Some money goes toward activities, she said: “We use about 10% of those funds to support the outdoor program for all of our Girl Scouts in our council.”\u003c/p>\n\u003cp>“There’s also about 14, 15% that goes to customer support,” such as technology underpinning the sales operation, she said.\u003c/p>\n\u003cp>Money also goes toward things like the rewards girls earn by hitting sales goals, and for operational costs.\u003c/p>\n\u003ch3>Parents are a multiskilled volunteer workforce\u003c/h3>\n\u003cfigure id=\"attachment_13953210\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-trefoil-stack_wide-b6b309fcafe51f9158c783d89009f094f408cd0f-scaled-e1709232897960.jpg\" alt=\"Piles of blue and brown boxes sit next to a U-Haul truck.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Volunteers load Trefoils and other Girl Scout Cookies at a huge parking lot near the RFK stadium in Washington, D.C. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The reality of Girl Scout Cookies may not be Wonka-like, but parents can be forgiven for feeling like Oompa Loompas — the hardworking cogs in a well-oiled machine.\u003c/p>\n\u003cp>Whatever a troop’s parents do for a living, Girl Scouts calls on them to hone a very specific set of skills, from making accurate sales projections (each troop is on the hook to pay for every cookie box they order) to managing spreadsheets and deliveries as late orders come in. Finally, they’ll reconcile a mix of cash, online orders and Venmo payments to ensure everything adds up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951141","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“We know it’s a lot of work. We know it is a heavy lift,” McClain told me, calling volunteers the lifeblood of the system.\u003c/p>\n\u003cp>Parents tout their kid’s online cookie store, sharing links on Facebook, in emails, at work — wherever a possible sale is lurking. They help girls sort the orders and make deliveries. They volunteer at cookie booths. Some, like me, also make surplus orders to cover all the folks who didn’t realize Girl Scout cookie season was coming. Those packages can go fast: When my girls brought about 25 boxes — or about $120 worth — of cookies to NPR’s headquarters, they sold out in 45 minutes.\u003c/p>\n\u003cp>All of this happens in parallel to the actual work of running the troop — setting up meetings and activities, ensuring the girls have the right materials, and planning what to do with the proceeds from cookie sales.\u003c/p>\n\u003ch3>So, why do parents do it?\u003c/h3>\n\u003cfigure id=\"attachment_13953211\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/2024-02-05t153910z_673457320_mt1usatoday22449417_rtrmadp_3_girl-scouts-provided-a-chance-for-the-love-local-crowd-to_wide-e3de932f4a9e5f65ad35f470c92a427c935b7783-scaled-e1709233147372.jpg\" alt=\"Cold parents and young people stand behind tables selling girl scouts cookies.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Cookie booth sales like this one in Michigan let Girl Scouts (and their parents) broaden their customer base. \u003ccite>(Don Reid/ Coldwater Daily Report/ USA Today Network/ Reuters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First of all: I’m glad to be able to support my daughters’ troop, to put time and money toward their experience.\u003c/p>\n\u003cp>I enjoy learning what it’s all about, and seeing my daughters spend time with friends in their troop. As for the cookie program, the Girl Scouts traditionally emphasizes the business training — things like setting goals, making marketing and spending decisions, and being responsible and ethical.\u003c/p>\n\u003cp>“We’re trying to teach entrepreneurial skills,” McClain said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953078","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Then there are the rewards for their labor. While some parents I’ve talked to say they wish the kids got a bigger share of the revenue, our troop does get enough money to do special things. And while adults do a lot of work to make it happen, we’re fine with the girls deciding how to spend it — they usually hold a vote to decide on the best options.\u003c/p>\n\u003cp>If you ever visit a cookie booth and want to know where the girls’ money goes, just ask.\u003c/p>\n\u003cp>“We are raising money to go camping and horseback riding,” Eva Kelly, a junior in our troop, told me at our sale.\u003c/p>\n\u003cp>They also want to learn how to cook, my daughter Mattie added: “We’ve got to learn how to make basic meals while we’re camping.”\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>If all goes well, they’ll be at that camp this summer — and some Girl Scout parents will be able to take a break, as well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=My+daughters+sold+Girl+Scout+Cookies.+Here%27s+what+I+learned+in+the+Thin+Mint+trenches&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953207/girl-scout-cookies-behind-the-scenes-parents","authors":["byline_arts_13953207"],"programs":["arts_13999"],"categories":["arts_1","arts_12276"],"tags":["arts_17208","arts_930","arts_21932"],"affiliates":["arts_137"],"featImg":"arts_13953208","label":"source_arts_13953207"},"arts_13953066":{"type":"posts","id":"arts_13953066","meta":{"index":"posts_1591205157","site":"arts","id":"13953066","found":true},"guestAuthors":[],"slug":"new-shogun-series-review-fx-james-clavell","title":"Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All","publishDate":1709060752,"format":"standard","headTitle":"Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The original \u003cem>Shōgun\u003c/em>, on NBC, aired in 1980, when miniseries were the hottest things on television. ABC’s \u003cem>Roots \u003c/em>had broken all ratings records just three years before — and three years later, the star of \u003cem>Shōgun\u003c/em>, Richard Chamberlain, would score another massive miniseries hit with ABC’s \u003ca href=\"https://www.npr.org/2014/03/06/286876905/for-a-sheltered-teen-thorn-birds-was-a-much-needed-eye-opener\">\u003cem>The Thorn Birds\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Even then, adapting James Clavell’s sprawling story of an English sea pilot’s adventures in Japan in the year 1600, was quite a gamble. The original version avoided subtitles, for the most part, to reflect the confusion the newly arrived pilot, John Blackthorne, felt when encountering Japanese culture and its people.\u003c/p>\n\u003cp>[aside postid='arts_13953000']Except for occasional narration by Orson Welles, who sometimes threw in some radio-style acting by interpreting what a warlord was saying, most viewers in 1980 were as clueless as the sailor in the story. Eventually, things became a bit clearer when one of the Japanese rulers, Lord Toranaga, appointed a trusted translator: Lady Mariko, to whom the pilot became increasingly, and dangerously, attracted.\u003c/p>\n\u003cp>Part of the great appeal of that miniseries was the powerful performance by Toshiro Mifune as Toranaga. Foreign film fans at the time knew him as the star of the original \u003cem>Seven Samurai. \u003c/em>But the chemistry between Chamberlain as Blackthorne, and the Japanese actor Yoko Shimada as his translator Mariko, was a big part of it, too.\u003c/p>\n\u003cp>This new, 10-part interpretation of \u003cem>Shōgun\u003c/em>, adapted for TV by the married writing team of Rachel Kondo and Justin Marks, uses subtitles throughout — a choice that makes the narrative more immediately understandable. It also focuses just as strongly, and just as effectively, on the same three central figures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lord Toranaga is played by Hiroyuki Sanada, who’s so imposing that even his silences are powerful. The translator, Lady Mariko, is played by Anna Sawai, who brings to her character even more strength, mystery and charisma than in the 1980 version. And instead of the matinee-idol-handsome Chamberlain as pilot Blackthorne, we have Cosmo Jarvis — an actor who looks more ruggedly handsome, and sounds a lot like Richard Burton. It takes a while for the three characters, and actors, to share the screen — but when they finally do, it’s entrancing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yAN5uspO_hk\u003c/p>\n\u003cp>This new \u003cem>Shōgun \u003c/em>has other strong performances as well, but they’re not the only things that make this 2024 version so successful. Special and visual effects have improved exponentially in the almost 45 years since the original \u003cem>Shōgun \u003c/em>was televised, and it shows here: Every storm at sea, every battle scene and, especially, every earthquake is rendered with excitement and credibility.\u003c/p>\n\u003cp>And finally, there’s the overarching story, which has Toranaga employing Blackthorne as his secret weapon in a deadly civil war. The power grabs among the five rulers are like the hostilities in \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>The Game of Thrones\u003c/em>\u003c/a> — except instead of a Red Wedding, there’s a Crimson Sky.\u003c/p>\n\u003cp>[aside postid='arts_13952691']I went back and rewatched the original \u003cem>Shōgun\u003c/em> to see if it holds up. It does. But the several directors who worked on \u003cem>Shōgun \u003c/em>for FX deliver a new version that looks much more stunning. It’s sexier, more violent, and even more thought-provoking and illuminating than the original … all of which, in this context, are meant as compliments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first two episodes of \u003cem>Shōgun \u003c/em>are televised on FX opening night, and streamed the next day on Hulu, with the remaining episodes presented weekly. Don’t miss it: With this \u003cem>Shōgun\u003c/em>, as with the original, the TV miniseries is alive and well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sex%2C+violence%2C+%27Game+of+Thrones%27-style+power+grabs+%E2%80%94+the+new+%27Sh%C5%8Dgun%27+has+it+all+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"FX’s remake is even more thought-provoking than the 1980 ‘Shōgun’ miniseries about an English sea pilot’s adventures in Japan. ","status":"publish","parent":0,"modified":1709060752,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":638},"headData":{"title":"‘Shōgun’ Review: Sex, Violence and Power Grabs Galore | KQED","description":"FX’s remake is even more thought-provoking than the 1980 ‘Shōgun’ miniseries about an English sea pilot’s adventures in Japan. ","ogTitle":"Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All","ogDescription":"","ogImgId":"","twTitle":"Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All","twDescription":"","twImgId":"","socialTitle":"‘Shōgun’ Review: Sex, Violence and Power Grabs Galore %%page%% %%sep%% KQED"},"sticky":false,"nprImageCredit":"Katie Yu","nprByline":"David Bianculli","nprImageAgency":"FX","nprStoryId":"1233992898","nprApiLink":"http://api.npr.org/query?id=1233992898&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/02/27/1233992898/shogun-review-fx?ft=nprml&f=1233992898","nprRetrievedStory":"1","nprPubDate":"Tue, 27 Feb 2024 13:24:00 -0500","nprStoryDate":"Tue, 27 Feb 2024 13:17:36 -0500","nprLastModifiedDate":"Tue, 27 Feb 2024 13:17:50 -0500","nprAudio":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/02/20240227_fa_b91eced5-937d-4e91-a8fb-ed0d9c8e8feb.mp3?orgId=427869011&topicId=1163&d=412&p=13&story=1233992898&ft=nprml&f=1233992898","nprAudioM3u":"http://api.npr.org/m3u/11234232746-cbebab.m3u?orgId=427869011&topicId=1163&d=412&p=13&story=1233992898&ft=nprml&f=1233992898","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953066/new-shogun-series-review-fx-james-clavell","audioUrl":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/02/20240227_fa_b91eced5-937d-4e91-a8fb-ed0d9c8e8feb.mp3?orgId=427869011&topicId=1163&d=412&p=13&story=1233992898&ft=nprml&f=1233992898","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The original \u003cem>Shōgun\u003c/em>, on NBC, aired in 1980, when miniseries were the hottest things on television. ABC’s \u003cem>Roots \u003c/em>had broken all ratings records just three years before — and three years later, the star of \u003cem>Shōgun\u003c/em>, Richard Chamberlain, would score another massive miniseries hit with ABC’s \u003ca href=\"https://www.npr.org/2014/03/06/286876905/for-a-sheltered-teen-thorn-birds-was-a-much-needed-eye-opener\">\u003cem>The Thorn Birds\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Even then, adapting James Clavell’s sprawling story of an English sea pilot’s adventures in Japan in the year 1600, was quite a gamble. The original version avoided subtitles, for the most part, to reflect the confusion the newly arrived pilot, John Blackthorne, felt when encountering Japanese culture and its people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953000","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Except for occasional narration by Orson Welles, who sometimes threw in some radio-style acting by interpreting what a warlord was saying, most viewers in 1980 were as clueless as the sailor in the story. Eventually, things became a bit clearer when one of the Japanese rulers, Lord Toranaga, appointed a trusted translator: Lady Mariko, to whom the pilot became increasingly, and dangerously, attracted.\u003c/p>\n\u003cp>Part of the great appeal of that miniseries was the powerful performance by Toshiro Mifune as Toranaga. Foreign film fans at the time knew him as the star of the original \u003cem>Seven Samurai. \u003c/em>But the chemistry between Chamberlain as Blackthorne, and the Japanese actor Yoko Shimada as his translator Mariko, was a big part of it, too.\u003c/p>\n\u003cp>This new, 10-part interpretation of \u003cem>Shōgun\u003c/em>, adapted for TV by the married writing team of Rachel Kondo and Justin Marks, uses subtitles throughout — a choice that makes the narrative more immediately understandable. It also focuses just as strongly, and just as effectively, on the same three central figures.\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>Lord Toranaga is played by Hiroyuki Sanada, who’s so imposing that even his silences are powerful. The translator, Lady Mariko, is played by Anna Sawai, who brings to her character even more strength, mystery and charisma than in the 1980 version. And instead of the matinee-idol-handsome Chamberlain as pilot Blackthorne, we have Cosmo Jarvis — an actor who looks more ruggedly handsome, and sounds a lot like Richard Burton. It takes a while for the three characters, and actors, to share the screen — but when they finally do, it’s entrancing.\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/yAN5uspO_hk'\n title='//www.youtube.com/embed/yAN5uspO_hk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This new \u003cem>Shōgun \u003c/em>has other strong performances as well, but they’re not the only things that make this 2024 version so successful. Special and visual effects have improved exponentially in the almost 45 years since the original \u003cem>Shōgun \u003c/em>was televised, and it shows here: Every storm at sea, every battle scene and, especially, every earthquake is rendered with excitement and credibility.\u003c/p>\n\u003cp>And finally, there’s the overarching story, which has Toranaga employing Blackthorne as his secret weapon in a deadly civil war. The power grabs among the five rulers are like the hostilities in \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>The Game of Thrones\u003c/em>\u003c/a> — except instead of a Red Wedding, there’s a Crimson Sky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952691","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I went back and rewatched the original \u003cem>Shōgun\u003c/em> to see if it holds up. It does. But the several directors who worked on \u003cem>Shōgun \u003c/em>for FX deliver a new version that looks much more stunning. It’s sexier, more violent, and even more thought-provoking and illuminating than the original … all of which, in this context, are meant as compliments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first two episodes of \u003cem>Shōgun \u003c/em>are televised on FX opening night, and streamed the next day on Hulu, with the remaining episodes presented weekly. Don’t miss it: With this \u003cem>Shōgun\u003c/em>, as with the original, the TV miniseries is alive and well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sex%2C+violence%2C+%27Game+of+Thrones%27-style+power+grabs+%E2%80%94+the+new+%27Sh%C5%8Dgun%27+has+it+all+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953066/new-shogun-series-review-fx-james-clavell","authors":["byline_arts_13953066"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_8237","arts_2627","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13953067","label":"arts_140"},"arts_13953013":{"type":"posts","id":"arts_13953013","meta":{"index":"posts_1591205157","site":"arts","id":"13953013","found":true},"guestAuthors":[],"slug":"raymond-cooper-oakland-photography-1970s-east-bay-photo-collective","title":"‘Raymond Cooper’s Oakland’ Tells Everyday Stories of a Bygone Era","publishDate":1709056947,"format":"standard","headTitle":"‘Raymond Cooper’s Oakland’ Tells Everyday Stories of a Bygone Era | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When we look back on history, all too often we stay focused on the big events — the disasters, the elections, the assassinations. But when it comes to getting an accurate view of a bygone era, it’s almost always the footage of everyday occurrences that tells us the most.\u003c/p>\n\u003cp>[aside postid='arts_13950886']\u003cem>Raymond Cooper’s Oakland\u003c/em>, a photography collection currently on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a>, does just that. In Cooper’s images, we see snapshots of lives and characters, places and social events that vividly take us back to the streets and living rooms of 1970s Oakland. Two young men hanging on a street corner. Children posing with a parked Chrysler Sunbeam. A woman with a beautiful Afro smoking a cigarette on her porch. A Black cowboy riding through a parade.\u003c/p>\n\u003cfigure id=\"attachment_13953021\" class=\"wp-caption aligncenter\" style=\"max-width: 2251px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg\" alt=\"Two children sit on the floor of a comfortable living room. They are surrounded by green plants, a white lamp behind them. \" width=\"2251\" height=\"1676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg 2251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1536x1144.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-2048x1525.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1920x1430.jpg 1920w\" sizes=\"(max-width: 2251px) 100vw, 2251px\">\u003cfigcaption class=\"wp-caption-text\">Intimate family portraits are a high point of ‘Raymond Cooper’s Oakland.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The images feel warm, familiar and intimate. They might not be of your friends and family, but they’ll make you think of the people who are. And their ability to take us to the least documented corners of the Town of 50 years ago is what makes them just a little bit magical.\u003c/p>\n\u003cp>The pictures on display represent an eclectic hodgepodge of Cooper’s two decades working as a photographer. (He also owned Sundance, a camera supply store on Webster Street.) In addition to Cooper’s street and home photography, there are some distinctly ’70s works of futuristic collage, a collection of fashion portraiture and some behind-the-scenes snaps, often involving hair stylists.\u003c/p>\n\u003cfigure id=\"attachment_13953026\" class=\"wp-caption aligncenter\" style=\"max-width: 1458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png\" alt=\"A young white man wearing short shorts and knee high tube socks plays an arcade game.\" width=\"1458\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png 1458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-768x512.png 768w\" sizes=\"(max-width: 1458px) 100vw, 1458px\">\u003cfigcaption class=\"wp-caption-text\">Little is known about most of the locations and subjects of Cooper’s photos, but they distinctly reflect the era in which they were taken. \u003ccite>(Courtesy of the East Bay Photo Collective/ Aja Cooper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfgate.com/local/article/stolen-photos-reveal-1970s-oakland-17494418.php\">The story of how Cooper’s photography got this little renaissance\u003c/a> is a delightful one. In 2021, a skateboarder named Ben Tolford rescued several binders of slides that had been dumped next to a trashcan in Oakland. While studying them at home, he found a self-portrait of Cooper that had the photographer’s name on it. He also found a baby picture with the name Aja on it. Tolford used social media to locate her — Aja is Cooper’s daughter — and returned the slides, which had been stolen from her storage space. Many more of Cooper’s photos had previously been lost in a house fire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s left of Cooper’s portfolio tells a colorful story about trends, community and belonging. It provides contemporary audiences with an on-the-ground view of everyday Oakland life half a century ago. And it brings back vivid memories for those who lived through it.\u003c/p>\n\u003cfigure id=\"attachment_13953030\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/raymondatsundance-scaled-e1708988629717.jpg\" alt=\"A slightly damaged photograph of a Black man on the phone inside a small business. He is waving to the photographer.\" width=\"1920\" height=\"1372\">\u003cfigcaption class=\"wp-caption-text\">Raymond Cooper working at his downtown Oakland photography supply store, Sundance. \u003ccite>(Courtesy of the East Bay Photo Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the exhibit’s opening party, an image featuring the downtown Oakland Doggie Diner prompted one man next to me to reminisce about the restaurant’s former proximity to a furniture store that sold, in his words, “the wildest furniture” and “you know, all that leopard print and shag.” Thanks to Raymond Cooper, that’s not so difficult to picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Raymond Cooper’s Oakland’ is on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a> (312 8th Street) through April 21, 2024. Aja Cooper will appear in conversation with ‘East Bay Yesterday’ host Liam O’Donoghue on April 5 at 7 p.m.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new exhibit by the East Bay Photo Collective presents one man's colorful view of 1970s Oakland.","status":"publish","parent":0,"modified":1709237066,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":602},"headData":{"title":"‘Raymond Cooper’s Oakland’ Tells Everyday Stories of a Bygone Era | KQED","description":"A new exhibit by the East Bay Photo Collective presents one man's colorful view of 1970s Oakland.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When we look back on history, all too often we stay focused on the big events — the disasters, the elections, the assassinations. But when it comes to getting an accurate view of a bygone era, it’s almost always the footage of everyday occurrences that tells us the most.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950886","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Raymond Cooper’s Oakland\u003c/em>, a photography collection currently on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a>, does just that. In Cooper’s images, we see snapshots of lives and characters, places and social events that vividly take us back to the streets and living rooms of 1970s Oakland. Two young men hanging on a street corner. Children posing with a parked Chrysler Sunbeam. A woman with a beautiful Afro smoking a cigarette on her porch. A Black cowboy riding through a parade.\u003c/p>\n\u003cfigure id=\"attachment_13953021\" class=\"wp-caption aligncenter\" style=\"max-width: 2251px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg\" alt=\"Two children sit on the floor of a comfortable living room. They are surrounded by green plants, a white lamp behind them. \" width=\"2251\" height=\"1676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg 2251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1536x1144.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-2048x1525.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1920x1430.jpg 1920w\" sizes=\"(max-width: 2251px) 100vw, 2251px\">\u003cfigcaption class=\"wp-caption-text\">Intimate family portraits are a high point of ‘Raymond Cooper’s Oakland.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The images feel warm, familiar and intimate. They might not be of your friends and family, but they’ll make you think of the people who are. And their ability to take us to the least documented corners of the Town of 50 years ago is what makes them just a little bit magical.\u003c/p>\n\u003cp>The pictures on display represent an eclectic hodgepodge of Cooper’s two decades working as a photographer. (He also owned Sundance, a camera supply store on Webster Street.) In addition to Cooper’s street and home photography, there are some distinctly ’70s works of futuristic collage, a collection of fashion portraiture and some behind-the-scenes snaps, often involving hair stylists.\u003c/p>\n\u003cfigure id=\"attachment_13953026\" class=\"wp-caption aligncenter\" style=\"max-width: 1458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png\" alt=\"A young white man wearing short shorts and knee high tube socks plays an arcade game.\" width=\"1458\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png 1458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-768x512.png 768w\" sizes=\"(max-width: 1458px) 100vw, 1458px\">\u003cfigcaption class=\"wp-caption-text\">Little is known about most of the locations and subjects of Cooper’s photos, but they distinctly reflect the era in which they were taken. \u003ccite>(Courtesy of the East Bay Photo Collective/ Aja Cooper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfgate.com/local/article/stolen-photos-reveal-1970s-oakland-17494418.php\">The story of how Cooper’s photography got this little renaissance\u003c/a> is a delightful one. In 2021, a skateboarder named Ben Tolford rescued several binders of slides that had been dumped next to a trashcan in Oakland. While studying them at home, he found a self-portrait of Cooper that had the photographer’s name on it. He also found a baby picture with the name Aja on it. Tolford used social media to locate her — Aja is Cooper’s daughter — and returned the slides, which had been stolen from her storage space. Many more of Cooper’s photos had previously been lost in a house fire.\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>What’s left of Cooper’s portfolio tells a colorful story about trends, community and belonging. It provides contemporary audiences with an on-the-ground view of everyday Oakland life half a century ago. And it brings back vivid memories for those who lived through it.\u003c/p>\n\u003cfigure id=\"attachment_13953030\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/raymondatsundance-scaled-e1708988629717.jpg\" alt=\"A slightly damaged photograph of a Black man on the phone inside a small business. He is waving to the photographer.\" width=\"1920\" height=\"1372\">\u003cfigcaption class=\"wp-caption-text\">Raymond Cooper working at his downtown Oakland photography supply store, Sundance. \u003ccite>(Courtesy of the East Bay Photo Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the exhibit’s opening party, an image featuring the downtown Oakland Doggie Diner prompted one man next to me to reminisce about the restaurant’s former proximity to a furniture store that sold, in his words, “the wildest furniture” and “you know, all that leopard print and shag.” Thanks to Raymond Cooper, that’s not so difficult to picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Raymond Cooper’s Oakland’ is on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a> (312 8th Street) through April 21, 2024. Aja Cooper will appear in conversation with ‘East Bay Yesterday’ host Liam O’Donoghue on April 5 at 7 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_11615"],"tags":["arts_8530","arts_10342","arts_10278","arts_1143","arts_822","arts_769","arts_585"],"featImg":"arts_13953028","label":"arts_140"},"arts_11924424":{"type":"posts","id":"arts_11924424","meta":{"index":"posts_1591205157","site":"arts","id":"11924424","found":true},"guestAuthors":[],"slug":"thomas-steinbeck-john-steinbecks-son-and-a-fellow-author-dies","title":"Thomas Steinbeck, John Steinbeck's Son and a Fellow Author, Dies","publishDate":1470952915,"format":"standard","headTitle":"Thomas Steinbeck, John Steinbeck’s Son and a Fellow Author, Dies | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Thomas Steinbeck, eldest son of Nobel Prize-winning author John Steinbeck and a prominent author and screenwriter in his own right, has died at age 72.\u003c/p>\n\u003cp>Stephanie Hornback of Carway Communications says \u003cem>The Grapes of Wrath\u003c/em> author’s son died Thursday at his home in Santa Barbara, Calif. The cause was chronic obstructive pulmonary disease.\u003c/p>\n\u003cp>Steinbeck began his own career as an author relatively late in life.\u003c/p>\n\u003cp>His first book, \u003cem>Down to a Soundless Sea\u003c/em>, a collection of short stories, was published in 2002.\u003c/p>\n\u003cp>He published the novels \u003cem>In the Shadow of the Cypress\u003c/em> in 2010 and \u003cem>The Silver Lotus in 2011\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was working on a memoir when he died.\u003c/p>\n\u003cp>Steinbeck also wrote and produced several films based on his father’s books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n","blocks":[],"excerpt":"Steinbeck began his own career as an author relatively late in life, publishing three books in the past decade","status":"publish","parent":0,"modified":1705033332,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":136},"headData":{"title":"Thomas Steinbeck, John Steinbeck's Son and a Fellow Author, Dies | KQED","description":"Steinbeck began his own career as an author relatively late in life, publishing three books in the past decade","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","authorsData":[{"type":"authors","id":"92","meta":{"index":"authors_1591205172","id":"92","found":true},"name":"KQED Arts","firstName":"KQED","lastName":"Arts","slug":"kqedarts","email":"arts@kqed.org","display_author_email":false,"staff_mastheads":[],"title":"KQED Staff","bio":null,"avatar":"https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":"https://www.instagram.com/kqed_arts/","linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"pop","roles":["contributor"]},{"site":"science","roles":["author"]},{"site":"food","roles":["contributor"]}],"headData":{"title":"KQED Arts | KQED","description":"KQED Staff","ogImgSrc":"https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/kqedarts"}],"imageData":{"ogImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Thomas-Steinbeck.jpg","width":796,"height":448},"twImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Thomas-Steinbeck.jpg","width":796,"height":448},"twitterCard":"summary_large_image"},"tagData":{"tags":["ntv","wire"]}},"sticky":false,"path":"/arts/11924424/thomas-steinbeck-john-steinbecks-son-and-a-fellow-author-dies","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thomas Steinbeck, eldest son of Nobel Prize-winning author John Steinbeck and a prominent author and screenwriter in his own right, has died at age 72.\u003c/p>\n\u003cp>Stephanie Hornback of Carway Communications says \u003cem>The Grapes of Wrath\u003c/em> author’s son died Thursday at his home in Santa Barbara, Calif. The cause was chronic obstructive pulmonary disease.\u003c/p>\n\u003cp>Steinbeck began his own career as an author relatively late in life.\u003c/p>\n\u003cp>His first book, \u003cem>Down to a Soundless Sea\u003c/em>, a collection of short stories, was published in 2002.\u003c/p>\n\u003cp>He published the novels \u003cem>In the Shadow of the Cypress\u003c/em> in 2010 and \u003cem>The Silver Lotus in 2011\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 was working on a memoir when he died.\u003c/p>\n\u003cp>Steinbeck also wrote and produced several films based on his father’s books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11924424/thomas-steinbeck-john-steinbecks-son-and-a-fellow-author-dies","authors":["92"],"programs":["arts_1272"],"categories":["arts_73","arts_74"],"tags":["arts_596","arts_1427"],"featImg":"arts_11924741","label":"arts_1272","isLoading":false,"hasAllInfo":true}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/10/ATC_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0018_AmericanSuburb_iTunesTile_01.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/ME_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/01/OOW_Tile_Final.png","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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