Podcasts about Tenderloin

Listen without ads here: www.patreon.com/dopeypodcast Tickets for Dopeywood 2: https://www.showclix.com/event/dopeywood-2026 This week on Dopey's Greatest Hits! Brace Belden's first episode (Patreon poll winner). We share Ray Brown's "Home Sweet Heroin" parody origin (Nikki Sixx drama), Dopey music history (UltiScrub, Good So Bad, Fentanyl J, Damon), and teases the NEW Spotify page. Plays old voicemails: Matt Wiedemeier Carroll (Waiting for Tonight 5-year anniversary, 117 days sober) and Kimber King (ketamine freakout, 20 months sober). Reads Spotify comments on Fentanyl Jay ep (love/hate, prison update, negative "murderer" email). Eric Poppismurff responds (benzo info, resources).  Then the highlights of Brace: a raw, wide-ranging conversation with Brace (punk rocker, communist, podcaster of TrueAnon, heroin/meth addict in recovery). Brace opens up about his life: early punk obsession (Black Sabbath to Ramones/Misfits at 12), first drug use (salvia at 11–12, hill fire/arrest, weed soon after), mom's suicide at 6 (coke addict, depression), compartmentalization as coping mechanism. Teen years in continuation school (smoking allowed, flower shop credits), first opiates (Vicodin/Percocet at 17), OxyContin discovery after moving out, transition to heroin in Tenderloin ($10 high), Dr. Z dealer (SRO, pigeon shooting, jail), Jacques (MS heroin dealer), stealing from flower shops/girlfriend, arrest for $9 meth buy, rehab cycles, basement apartment gutter snipes/clonidine kick. Later Syrian resistance (2015–2016, 7 months fighting ISIS with Kurds, no opiates there, ketamine for wounds), return (lied to everyone), brewery job/union campaign, TrueAnon start (2019), ongoing sleep struggle (melatonin bullshit, trazodone dreams, Benadryl suggestion). All that and tons and tons more on a brand new episode of that good old dopey show! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

See omnystudio.com/listener for privacy information.

Toshio Meronek's parents met at a bar. In this episode, meet and get to know Toshio. Today, they do Sad Francisco, a really fucking amazing project that reports on and holds truth to power around here. I first became aware of Sad Francisco a few years ago and right away, I was struck by the deep reporting on and understanding of the many complex relationships and goings on in San Francisco and The Bay. And so I sat down with my fellow podcaster to get to know the human behind those efforts. Toshio's story starts with their parents. That bar where they met was in Los Angeles. Shortly after meeting, the couple moved to Germany, where Toshio's dad had found work at a major German tech company. But after getting pregnant with Toshio, the young couple came back to Southern California—Orange County to be exact, where Toshio was born. Some of Toshio's earliest memories involve not really digging that infamous SoCal heat. We'll get into this more later in Part 1, but Toshio picked Portland for college in part because of its more temperate, albeit wetter, climate. Born in 1982, Toshio did most of their growing up in the Nineties. When I ask them what kinds of things they were into as a kid, they immediately say, "zines." Making zines, collecting zines, living and breathing zines. We hop on a short sidebar about Riot Grrrl, a Nineties feminist punk-adjacent movement that seeped into both our lives at different points—mine early in the decade, and Toshio's toward the end of the Nineties. Riot Grrrl arrived in the typically and generally conservative Orange County later than a lot of other parts of the country and the world. But arrive it did, and it had an outsize impact on Toshio's young life. Zines were huge in that subculture, too. To expound on their interests as a kid, Toshio was generally into media, curious about how others live, and also sci-fi and fantasy (think D&D). Toshio was around 13 or 14 when they started writing their own zines. Here we go on a sidebar about one of my favorite pet topics—Kinko's (RIP). IYKYK. Eventually, Toshio eschewed the ubiquitous copy+print shop and had their zines printed on newsprint paper. It was part of a deliberate attempt to appear legitimate, more like "the establishment," something I find fascinating. They wanted people to take them seriously, and that just makes a lot of damn sense. Music was very much a part of the Riot Grrrl movement Punk rock music to be specific. And Toshio's early publications covered that. In fact, topics ran the gamut from music and politics to culture and community. We turn to the topic of Toshio's surroundings when they were a teenager. Record stores, zine shops, cafes that also had live music. They dabbled in the SoCal rave scene as well. They settled into the Candy Kids rave subculture and talk a little about that. There's another short sidebar where we talk about how amazing youth activism is, and how much we always need it. As much as young Toshio was part of these communities and subcultures, they also describe this time in terms of being a loner. They also experienced a lack of self-confidence, lots of acne, therapy to work through their being Japanese and white, or hafu (another term for "hapa"), being gay. Though Toshio has grown past those struggles, they consider them powerfully formative. Then came time to relocate and go to college. Besides Portland having more desirable weather, Toshio chose it in part because of the Northwest's grunge legacy. College life started right around 9/11, and they started going to protests. Lots of protests. College lasted four years, and after that, Toshio stayed behind in Portland. They got work at a magazine covering ecology for K–12 kids. They were also in bands (they play guitar, ish, sing, and play tambourine). "It felt like everybody was in an alt-country band," they say. And then, in 2006, they left Portland for … San Francisco. An editing job brought Toshio here. The publication was a so-called "light-green living" outfit, targeted, as it said, to yoga moms who drive their hybrid SUVs to Whole Foods. I ask Toshio if the job was editing words, and then mention that it's been my profession for a long-ass time. And we go on a sidebar about how important the work is. I'll add that everyone (including editors!) needs an editor. Sorry (not sorry), AI. That leads to yet another sidebar (can you tell we're both podcasters?)—this one from Toshio about the nature of the "yoga mom" publication. They grew disillusioned with their work there, suffice to say. We end Part 1 with Toshio's early memories of visiting San Francisco, before they moved here. They involve the older men who used to be found daily playing chess off Powell and Market. Check back Thursday for Part 2 with Toshio Meronek. We recorded this episode at Toshio's home at the confluence of The Transgender District, Tenderloin, UN Plaza, and Civic Center in January 2026. Photography by Jeff Hunt

We mark the 50th anniversary of Mother Jones and the launch of The Tenderloin Voice, a new newsroom serving San Francisco's Tenderloin community.

In this Film Ireland Podcast, supported by Screen Ireland, we're delighted to be chatting once again with director, screenwriter and novelist John Butler.John is behind the popular feature films The Stag, Handsome Devil and Papi Chulo, and was a writer and second director on Stephen Merchant's The Outlaws for BBC One and Amazon Studios. His latest series, These Sacred Vows, is now airing on RTÉ, with the first two episodes available to watch on the RTÉ Player, and episode three airing at 9.30pm this Sunday on RTÉ One.This episode has been made possible with the support of the Screen Ireland Stakeholders Fund.Secrets of love, lies, and betrayal unravel at an Irish wedding in Tenerife after the body of a priest is found floating face-down in the swimming pool of the young guests' villa.John Butler BiographyJohn is a novelist and an RTS and IFTA award-winning director and writer for TV and film. He wrote on and directed Stephen Merchant's “The Outlaws” (BBC/Amazon), starring Christopher Walken, Darren Boyd and Eleanor Tomlinson In 2019, “Papi Chulo” (which John wrote and directed) premiered as special presentation at TIFF. Other premieres included DIFF19 (Dublin), TFF (Torino), Palm Springs, LFF (London), BFI Flare, Guadalajara, Glasgow, Prague and Sydney. Prior to that, John wrote and directed “Handsome Devil”, which sold to Netflix worldwide and picked up awards including the DIFF Critic's Circle Award, the Miami Film Festival audience award and best drama at the Celtic Film and TV Festival. In 2014, John directed and co-wrote “The Stag” which premiered at TIFF, TriBeCa, Turin and elsewhere. In 2012, John's debut novel “The Tenderloin” was published by Picador and shortlisted at the Irish Book Awards. John's other writing has appeared in Esquire magazine, The Irish Times, The Dublin Review, The San Francisco Chronicle, FilmMaker magazine, Shot List, and on NPR.z9i5d5gg Hosted on Acast. See acast.com/privacy for more information.

When a 400% increase in human excrement events in your mall elevators becomes a regular Tuesday, you know you've hit rock bottom. San Francisco's largest mall—1.5 million square feet of former retail glory—is now officially dead. Panda Express, the last restaurant standing, has closed its doors for good.This wasn't a slow decline; this was policy-induced collapse. Remember "15 days to flatten the curve"? Try two years of lockdowns that killed foot traffic, combined with open-air drug markets and the Tenderloin's finest using elevators as bathrooms. The mall went from millions of shoppers to zero bids at foreclosure auction. Not even at $134 million—less than 20% of peak value. Westfield literally handed the keys back to lenders and said "good luck."Meanwhile, city leaders proposed solutions like... a soccer stadium? Sure, because what San Francisco needs is more places nobody will visit. Is anyone surprised this happened? What did they expect when they turned a blind eye to street chaos for years?

After holiday blackouts, should San Francisco finally buy out PG&E? Is SF finding the right balance in embracing cutting edge tech? Del Seymour, "The Mayor of the Tenderloin."

San Francisco's Tenderloin neighborhood, often in the news for headlines associated with crime, homelessness and drug use, has the highest concentration of kids in all of San Francisco. So a reporter decided to give Tenderloin kids disposable cameras to see the neighborhood from their perspective.  This episode first aired on Sept. 24, 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jenna and Henry play a holiday edition of the game ‘Reel of Unreel,' where they try to guess whether the description of a holiday TV movie is real or made up. Also, Henry hits the streets of Manhattan to spread a little holiday cheer. Plus, Henry shares a story that's very close to his heart and how he's honoring his father's legacy. And, chef Jeff Mauro shares a delicious beef tenderloin and crispy onion recipe perfect for holiday celebrations. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this week's sermon, “One Way to Help,” Rev. Emily McGinley begins with a story of a walk through the Tenderloin with the San Francisco Night Ministry and a simple truth offered there: “People fall on hard times and it's not their fault. This is one way for me to help.” From that moment, we turn to John the Baptist—accidental spiritual icon—calling out crowds chasing spiritual highs instead of real transformation, yet still offering an invitation: there is time, it is not too late, and who you've been doesn't have to determine who you can become. We reflect on baptism as a ritual of beginning again when life feels heavy or directionless, and we return to the Tenderloin question: What's one way I can help?

San Francisco offered businesses a MILLION DOLLAR tax break to move into the Tenderloin area. Big shocker – absolutely nobody took the deal! Not a single company thought it was worth it, even with that massive incentive dangling in front of them.We're breaking down why 40% of San Francisco's office space sits empty, why even AI companies are avoiding these specific zip codes, and what it really means when businesses would rather pay full taxes elsewhere than take a million-dollar break in certain neighborhoods. The city won't talk about street conditions, but the results speak for themselves.Meanwhile, they're spinning rising vacancy rates as "stabilizing" because things are getting worse at a slower pace. Is anyone surprised that companies are saying "hard pass" to areas where lunch breaks come with hazard pay? What does it tell you when even desperate businesses won't bite on a seven-figure tax credit?

Alec Naman from @Naman's Catering called us this morning and said, "Let's fire up the grills this weekend and cook some steaks, maybe with a nice chimichurri sauce. Oh, Don't worry about the rain..."      

San Francisco's progressive policies have created a real estate apocalypse that's absolutely mind-blowing. A 15-story office building that sold for $62 million in 2016 just went for $6.5 million – that's a jaw-dropping 90% discount! We're diving into the House of Horrors that is SF's property tax crisis, where massive office vacancies, rampant homelessness in the Tenderloin, and work-from-home policies have created the perfect storm. The city is drowning in 7,500 property tax appeals (up from 2,800), and here's the kicker – if they can't process them within two years, they automatically lose and must accept whatever reduction taxpayers demand. Some are literally claiming zero value! With a potential $1 billion in refunds looming and major properties selling at fire-sale prices, this isn't just about one building – it's about the complete collapse of progressive urban planning. Is this what happens when ideology meets economic reality? Can any mayor dig out of this financial sinkhole? Hit subscribe and let's watch this trainwreck together – because somebody needs to document the death spiral of woke city economics!

Alison recounts the story of Del Seymour who recovered after a life of 18 years of homelessness and incarceration to go on to found Code Tenderloin which has reclaimed thousands of former drug addicts and homeless people from the streets of San Francisco. She also gives us a master class in journalistic interview technique drawing out her subject Del to discuss painful truths from his past life. For an unrelated project, she is looking to interview current and former ICE agents.

The Tenderloin in 1966: One of the earliest trans/queer actions (that we know of) against police and state violence happened at Compton's Cafeteria. Today, that space (111 Taylor Street) is occupied by Geo Group—otherwise known as the corporation that is America's number-one private prison and ICE profiteer. Zei Wilder is helping organize the local effort to get Geo Group out of San Francisco and turn the Compton's site into something that isn't evil. - Comptons x Coalition: comptonsxcoalition.net Demand Board of Supervisors Action Against Geo Group on November 6, 10 AM, SF City Hall Room 272: instagram.com/p/DPUQYewgdk4/ Episode with historian Susan Stryker, co-director of the Compton's documentary "Screaming Queens": patreon.com/posts/jail-at-comptons-79134233 - Sad Francisco is produced by Toshio Meronek and edited by Tyger Ligon. Support the show and get new episodes early on Patreon: patreon.com/sadfrancisco 

Bob Quinn visits with the owners of Hometown Heroes in Grinnell, Iowa - the winners of the Iowa Pork Producers' Best Tenderloin contest in 2025!

  The transgender community has struggled to receive recognition and equality.  In this episode, we explore the history of the transgender community over the last 100 years with Dr. Susan Stryker and the life of Dr. Alan L. Hart, a transgender medical doctor working on the forefront of an urgent public health crisis, tuberculosis, in Connecticut. Hart, Director of Connecticut's Office of TB Rehabilitation, is credited with saving countless lives. My guest is Dr. Susan Stryker, author of Transgender History, the Root of Today's Revolution, published in 2017. Transgender History, Third Edition: A Resource for Today's Struggle-and Tomorrow's will be published in Febuary, 2026. Dr. Susan Stryker holds a distinguished visiting appointment at Stanford's Michelle R. Clayman Institute for Gender Research at Stanford University, and is Professor Emerita of Gender, Women's and Sexuality Studies at the University of Arizona, where she directed the Institute for LGBT Studies for many years. She is the author or editor of numerous articles, books and anthologies. A collection of previously published short works, When Monsters Speak: A Susan Stryker Reader, was published by Duke University Press in 2024. She is also an Emmy-winning documentary filmmaker for Screaming Queens: The Riot at Compton's Cafeteria. In the documentary, you'll meet Dr. Stryker and some of the transgender women and drag queens who fought police harassment at Compton's Cafeteria in San Francisco's Tenderloin in 1966 three years before the famous riot at Stonewall Inn bar in New York City. You'll find the documentary on Amazon Prime. To contact Dr. Stryker, visit her website at www.susanstryker.net/about For more information on Dr. Alan L. Hart, go to these resources: https://www.scientificamerican.com/article/trailblazing-transgender-doctor-saved-countless-lives/ https://pmc.ncbi.nlm.nih.gov/articles/PMC12328259/ https://www.researchgate.net/publication/272831386_Manifesting_Manhood_Dr_Alan_Hart's_Transformation_and_the_Embodiment_of_Sex_in_Early_Twentieth-Century_Sexology https://college.lclark.edu/live/news/43320-from-the-archives-dr-alan-hart   West Hartford Pride  West Hartford Pride supports, celebrates, and uplifts the LGBTQAI+ Community by providing resources, events, education, and social justice initiatives. Find out more about visiting their website at westhartfordpride.org   Preservatlon Connecticut LGBTQ+ Historic Sites Survey  Preservation Connecticut, in partnership with scholars and activists, has embarked on documenting Connecticut's LGBTQ+ sites. Interwoven through these places are stories of resilience, innovation, and the pursuit of equality that transcend the traditional boundaries of class, race, ethnicity, and religion. If you're interested in learning more or contributing to this survey project, please visit www.preservationct.org/lgbtq. Grating the Nutmeg Three-part LGBTQ+ Series 2025 Connecticut Explored magazine and our podcast, Grating the Nutmeg, have featured many of the heritage trails that mark the important histories and sites of Connecticut's people.  Preservation Connecticut has undertaken a survey of LGBTQ+ heritage sites across the state. Now, Grating the Nutmeg and Preservation Connecticut have teamed up to bring you a three-episode podcast series that pairs new research on LGBTQ+ identity and activism with accounts of the Connecticut places where history was made. The episodes include a thriving vegetarian cafe-bookstore run by lesbian feminists in a working-class former factory town, Episode 212, a transgender medical researcher working on an urgent public health issue in the center of Connecticut politics, Episode 219, and a gay, Jewish, best-selling children's book author in affluent Fairfield County, Episode 215. Connecticut Humanites The 2025 LGBTQ+ Three-part series received grant support from CT Humanities, connecting people to the humanities through grants, partnerships, and public programs. Visit our website to learn about our funding opportunities and capacity building grants. https://cthumanities.org/   ------------------------------------------ Like Grating the Nutmeg? Want to support it? Make a donation! 100% of the funds from your donation go directly to the production and promotion of the show. Go to ctexplored.org to send your donation now. secure.qgiv.com/for/gratingthenutmeg This episode of Grating the Nutmeg was produced by Mary Donohue and engineered by Patrick O'Sullivan at www.highwattagemedia.com/   Follow GTN on our socials-Facebook, Instagram, Threads, and BlueSky. Follow executive producer Mary Donohue on Facebook and Instagram at West Hartford Town Historian. Join us in two weeks for our next episode of Grating the Nutmeg, the podcast of Connecticut history. Thank you for listening!

Have you ever met someone whose story shifts your whole perspective?In the latest episode of Real Talk, I sit down with the electrifying DJ Ahmed, an Iraqi-born refugee who turned the chaos of war and displacement into an unstoppable force for joy, healing, and unity.

On today's show, a documentary about a musician who looks to Lucinda Williams for inspiration. Then, a singer honors the historical Compton's Cafeteria riots in the Tenderloin. Also, a documentary about hedge funds destroying local newspapers, and how journalists are fighting back. We close the show with a salute to trailblazing journalist Belva Davis.

San Francisco has solved its crime and homelessness crisis in the most brilliant way possible – they're just renaming the neighborhoods! The notorious Midmarket area, plagued by drug dealing, overdoses, and people chasing each other with swords for 178 years, is now magically being rebranded as "Lower Hayes Valley." Because nothing says urban renewal like creative geography, right?We dive deep into this absurd marketing makeover where real estate agents are stretching the truth harder than a yoga instructor. With a staggering 62.6% vacancy rate and businesses fleeing faster than tourists from the Tenderloin, city leaders have cracked the code: if you can't fix the problems, just change the name! Whole Foods couldn't survive here, Twitter escaped, and an entire district lost 80% of its value – but hey, slap a new label on it and watch the magic happen.Is this the future of urban planning – just rebranding failure until it sounds trendy? Will AI startups really fall for "Lower Hayes" when they're literally surrounded by the same chaos that drove everyone else away? Let me know what you think about this masterclass in municipal gaslighting.Hit that subscribe button and notification bell – because someone needs to document this circus as usual!

San Francisco's Tenderloin neighborhood has the highest concentration of children in the city. But stories about the Tenderloin often overlook this fact. Reporter Cami Dominguez worked with a local nonprofit to give kids in the neighborhood disposable cameras for a week. Today, we talk about what the photos show. Links: Photos Capture SF's Tenderloin Through the Eyes of Kids Who Live There Learn more about your ad choices. Visit megaphone.fm/adchoices

Tenderloin residents are sick of city money going to passing out needles and pipes to drug addictsSee omnystudio.com/listener for privacy information.

In this special preview from the Blue City Blues podcast, Sandeep and David explore the sprawling open-air drug market in Seattle's Little Saigon neighborhood, which resembles similar drug markets in poor, blue city neighborhoods across the US that have been overrun by the urban fentanyl and methamphetamine crises. Whether it's the Tenderloin in San Francisco, or Kensington in Philadelphia, or Skid Row or MacArthur Park in Los Angeles, the well intentioned, largely permissive policies towards hard drug use that in recent years took root in progressive-dominated bluer cities is coming under increasing challenge, and not just from Trump and the MAGA right.In the fall of 2024, Oregon rolled back its famous 2020 experiment in full drug decriminalization - as did Vancouver, B.C. earlier last year - after Portland neighborhoods like Old Town were overrun by addicts committing petty crimes to fuel their addictions. Recently installed San Francisco Mayor Daniel Lurie has embraced more aggressive law enforcement and treatment interventions, as part of a nascent shift heralded by the city's adoption of “Breaking the Cycle” and “Recovery First” policies.Our guide in Little Saigon is Andrew Constantino, a former heroin addict and outreach worker, whose recent Seattle Times op-ed, “Here's what I Learned about Addiction at 12th and Jackson,” has struck a nerve in Seattle's social services provider community. Constantino walks us through the streets of Seattle's most notorious open air drug market, where methamphetamine, fentanyl, and stolen goods are openly exchanged at all hours of the day and night, and explains why so many fentanyl users are stuck here on the streets, trapped in a cycle of rising hopelessness and despair – due to the fleeting, highly addictive nature of the drug.With a searing candor, disarming humor and electric cowboy green hair, Constantino rejects many prevailing progressive orthodoxies to offer his own, deeply compassionate yet sharply questioning perspective on addiction, personal autonomy, and opportunities for productive interventions on the mean streets of blue cities.Our editor is Quinn Waller. Our producer and editor for this episode was Jennie Cecil Moore. About Blue City BluesSubscribe to the Blue City Blues podcast here. Twenty years ago, Dan Savage encouraged progressives to move to blue cities to escape the reactionary politics of red places. And he got his wish. Over the last two decades, rural places have gotten redder and urban areas much bluer.America's bluest cities developed their own distinctive culture, politics and governance. They became the leading edge of a cultural transformation that reshaped progressivism, redefined urbanism and remade the Democratic Party.But as blue cities went their own way, as they thrived as economically and culturally vibrant trend-setters, these urban cosmopolitan islands also deSend us a text! Note that we can only respond directly to emails realseattlenice@gmail.comSupport the showYour support on Patreon helps pay for editing, production, live events and the unique, hard-hitting local journalism and commentary you hear weekly on Seattle Nice.

Today on the HowToBBQRight Podcast, we partnered up with Grilla Grills to giveaway a wood pellet pizza oven - here's how to win it (00:14)! Y'all be sure to catch us over at ‘Arktober Fest' on October 5th (04:30). Football season is right around the corner, and we couldn't be more excited (05:50). Malcom was a little wing hungry, so we whipped up some white sauce wings over a two-zone fire that were money (11:19)... Looking for a new grill to add to your arsenal? Primo Ceramic Grills has you covered (20:51)! PSMO cuts for beef tenderloins are always the way to go (21:35). Do THIS to make the buffalo chicken dip you've ever made in your life (26:24). Malcom wants to know if I had to give up either butter or mayo, which one am I choosing (32:18)? It's hard to beat a good oyster dish, but ‘Redneck Rockefeller' might be up next on our must try list (36:45)... Apparently Red Bull is the best griddle cleaner out there, and I want to try it (41:41)! Everyone's been asking me to be a guest pitmaster on HowToBBQRight, and I may finally be ready to get to it (45:22). Could you use butcher paper to wrap up a pork butt (48:07)? This has to be one of the unhealthiest fair foods I've ever heard of (50:01). Where is the best place to source wood chunks locally (53:56)? We've tried Crushed Red Pepper Flakes before, but Crushed Habanero Flakes take it to a whole nother level (57:07)...

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists.   In this two-part series of Oakland Asian Cultural Center's “Let's Talk” podcast Eastside Arts Alliance is featured. Elena Serrano and Susanne Takehara, two of the founders of Eastside Arts Alliance, and staff member Aubrey Pandori will discuss the history that led to the formation of Eastside and their deep work around multi-racial solidarity.   Transcript: Let's Talk podcast episode 9  [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the ninth episode of our Let's Talk Audio Series. Let's Talk is part of OACC'S Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-Blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight Black and Asian solidarity and community efforts specifically in the Oakland Chinatown area. Today's episode is a round table discussion with Elena Serrano, Susanne Takahara, and Aubrey Pandori of Eastside Arts Alliance.  [00:00:53] Aubrey: Hello everybody. This is Aubrey from Eastside Arts Alliance, and I am back here for the second part of our Let's Talk with Suzanne and Elena. We're gonna be talking about what else Eastside is doing right now in the community. The importance of art in activism, and the importance of Black and Asian solidarity in Oakland and beyond.  So I am the community archivist here at Eastside Arts Alliances. I run CARP, which stands for Community Archival Resource Project. It is a project brought on by one of our co-founders, Greg Morozumi. And it is primarily a large chunk of his own collection from over the years, but it is a Third World archive with many artifacts, journals, pens, newspapers from social movements in the Bay Area and beyond, international social movements from the 1960s forward. We do a few different programs through CARP. I sometimes have archival exhibitions. We do public engagement through panels, community archiving days. We collaborate with other community archives like the Bay Area Lesbian Archives and Freedom Archives here in Oakland and the Bay Area. And we are also working on opening up our Greg Morozumi Reading Room in May. So that is an opportunity for people to come in and relax, read books, host reading groups, or discussions with their community. We're also gonna be opening a lending system so people are able to check out books to take home and read. There'll be library cards coming soon for that and other fun things to come.  [00:02:44] So Suzanne, what are you working on at Eastside right now? [00:02:48] Susanne: Well, for the past like eight or nine years I've been working with Jose Ome Navarrete and Debbie Kajiyama of NAKA Dance Theater to produce Live Arts and Resistance (LAIR), which is a Dance Theater Performance series. We've included many artists who, some of them started out here at Eastside and then grew to international fame, such as Dohee Lee, and then Amara Tabor-Smith has graced our stages for several years with House Full of Black Women. This year we're working with Joti Singh on Ghadar Geet: Blood and Ink, a piece she choreographed, and shot in film and it's a multimedia kind of experience. We've worked with Cat Brooks and many emerging other artists who are emerging or from all over, mostly Oakland, but beyond. It's a place where people can just experiment and not worry about a lot of the regulations that bigger theaters have. Using the outside, the inside, the walls, the ceiling sometimes. It's been an exciting experience to work with so many different artists in our space.  [00:04:03] Elena: And I have been trying to just get the word out to as many different folks who can help sustain the organization as possible about the importance of the work we do here. So my main job with Eastside has been raising money. But what we're doing now is looking at cultural centers like Eastside, like Oakland Asian Cultural Center, like the Malonga Casquelord Center, like Black Cultural Zone, like the Fruitvale Plaza and CURJ's work. These really integral cultural hubs. In neighborhoods and how important those spaces are.  [00:04:42] So looking at, you know, what we bring to the table with the archives, which serve the artistic community, the organizing community. There's a big emphasis, and we had mentioned some of this in the first episode around knowing the history and context of how we got here so we can kind of maneuver our way out. And that's where books and movies and posters and artists who have been doing this work for so long before us come into play in the archives and then having it all manifest on the stage through programs like LAIR, where theater artists and dancers and musicians, and it's totally multimedia, and there's so much information like how to keep those types of places going is really critical.  [00:05:28] And especially now when public dollars have mostly been cut, like the City of Oakland hardly gave money to the arts anyway, and they tried to eliminate the entire thing. Then they're coming back with tiny bits of money. But we're trying to take the approach like, please, let's look at where our tax dollars go. What's important in a neighborhood? What has to stay and how can we all work together to make that happen?  [00:05:52] Susanne: And I want to say that our Cultural Center theater is a space that is rented out very affordably to not just artists, but also many organizations that are doing Movement work, such as Palestinian Youth Movement, Bala, Mujeres Unidas Y Activas, QT at Cafe Duo Refugees, United Haiti Action Committee, Freedom Archives, Oakland Sin Fronteras, Center for CPE, and many artists connected groups.  [00:06:22] Aubrey: Yeah, I mean, we do so much more than what's in the theater and Archive too, we do a lot of different youth programs such as Girl Project, Neighborhood Arts, where we do public murals. One of our collective members, Angie and Leslie, worked on Paint the Town this past year. We also have our gallery in between the Cultural Center and Bandung Books, our bookstore, which houses our archive. We are celebrating our 25th anniversary exhibition.  [00:06:54] Susanne: And one of the other exhibits we just wrapped up was Style Messengers, an exhibit of graffiti work from Dime, Spy and Surge, Bay Area artists and Surge is from New York City, kind of illustrating the history of graffiti and social commentary.  [00:07:30] Elena: We are in this studio here recording and this is the studio of our youth music program Beats Flows, and I love we're sitting here with this portrait of Amiri Baraka, who had a lot to say to us all the time. So it's so appropriate that when the young people are in the studio, they have this elder, magician, poet activist looking at him, and then when you look out the window, you see Sister Souljah, Public Enemy, and then a poster we did during, when Black Lives Matter came out, we produced these posters that said Black Power Matters, and we sent them all over the country to different sister cultural centers and I see them pop up somewhere sometimes and people's zooms when they're home all over the country. It's really amazing and it just really shows when you have a bunch of artists and poets and radical imagination, people sitting around, you know, what kind of things come out of it. [00:08:31] Aubrey: I had one of those Black Power Matters posters in my kitchen window when I lived in Chinatown before I worked here, or visited here actually. I don't even know how I acquired it, but it just ended up in my house somehow.  [00:08:45] Elena: That's perfect. I remember when we did, I mean we still do, Malcolm X Jazz Festival and it was a young Chicana student who put the Jazz Festival poster up and she was like, her parents were like, why is Malcolm X? What has that got to do with anything? And she was able to just tell the whole story about Malcolm believing that people, communities of color coming together  is a good thing. It's a powerful thing. And it was amazing how the festival and the youth and the posters can start those kind of conversations.  [00:09:15] Aubrey: Malcolm X has his famous quote that says “Culture is an indispensable weapon in the freedom struggle.” And Elena, we think a lot about Malcolm X and his message here at Eastside about culture, but also about the importance of art. Can we speak more about the importance of art in our activism?  [00:09:35] Elena: Well, that was some of the things we were touching on around radical imagination and the power of the arts. But where I am going again, is around this power of the art spaces, like the power of spaces like this, and to be sure that it's not just a community center, it's a cultural center, which means we invested in sound good, sound good lighting, sprung floors. You know, just like the dignity and respect that the artists and our audiences have, and that those things are expensive but critical. So I feel like that's, it's like to advocate for this type of space where, again, all those groups that we listed off that have come in here and there's countless more. They needed a space to reach constituencies, you know, and how important that is. It's like back in the civil rights organizing the Black church was that kind of space, very important space where those kind of things came together. People still go to church and there's still churches, but there's a space for cultural centers and to have that type of space where artists and activists can come together and be more powerful together.  [00:10:50] Aubrey: I think art is a really powerful way of reaching people. [00:10:54] Elena: You know, we're looking at this just because I, being in the development end, we put together a proposal for the Environmental Protection Agency before Donald (Trump) took it over. We were writing about how important popular education is, so working with an environmental justice organization who has tons of data about how impacted communities like East Oakland and West Oakland are suffering from all of this, lots of science. But what can we, as an arts group, how can we produce a popular education around those things? And you know, how can we say some of those same messages in murals and zines, in short films, in theater productions, you know, but kind of embracing that concept of popular education. So we're, you know, trying to counter some of the disinformation that's being put out there too with some real facts, but in a way that, you know, folks can grasp onto and, and get.  [00:11:53] Aubrey: We recently had a LAIR production called Sky Watchers, and it was a beautiful musical opera from people living in the Tenderloin, and it was very personal. You were able to hear about people's experiences with poverty, homelessness, and addiction in a way that was very powerful. How they were able to express what they were going through and what they've lost, what they've won, everything that has happened in their lives in a very moving way. So I think art, it's, it's also a way for people to tell their stories and we need to be hearing those stories. We don't need to be hearing, I think what a lot of Hollywood is kind of throwing out, which is very white, Eurocentric beauty standards and a lot of other things that doesn't reflect our neighborhood and doesn't reflect our community. So yeah, art is a good way for us to not only tell our stories, but to get the word out there, what we want to see changed.  So our last point that we wanna talk about today is the importance of Black and Asian solidarity in Oakland. How has that been a history in Eastside, Suzanne?  [00:13:09] Susanne: I feel like Eastside is all about Third World solidarity from the very beginning. And Yuri Kochiyama is one of our mentors through Greg Morozumi and she was all about that. So I feel like everything we do brings together Black, Asian and brown folks. [00:13:27] Aubrey: Black and Asian solidarity is especially important here at Eastside Arts Alliance. It is a part of our history. We have our bookstore called Bandung Books for a very specific reason, to give some history there. So the Bandung Conference happened in 1955 in Indonesia, and it was the first large-scale meeting of Asian and African countries. Most of which were newly independent from colonialism. They aimed to promote Afro-Asian cooperation and rejection of colonialism and imperialism in all nations. And it really set the stage for revolutionary solidarity between colonized and oppressed people, letting way for many Third Worlds movements internationally and within the United States.  [00:14:14] Eastside had an exhibition called Bandung to the Bay: Black and Asian Solidarity at Oakland Asian Cultural Center the past two years in 2022 and 2023 for their Lunar New Year and Black History Month celebrations. It highlighted the significance of that conference and also brought to light what was happening in the United States from the 1960s to present time that were creating and building solidarity between Black and Asian communities. The exhibition highlighted a number of pins, posters, and newspapers from the Black Liberation Movement and Asian American movement, as well as the broader Third World movement. The Black Panthers were important points of inspiration in Oakland, in the Bay Area in getting Asian and Pacific Islanders in the diaspora, and in their homelands organized.  [00:15:07] We had the adoption of the Black Panthers 10-point program to help shape revolutionary demands and principles for people's own communities like the Red Guard in San Francisco's Chinatown, IWK in New York's Chinatown and even the Polynesian Panthers in New Zealand. There were so many different organizations that came out of the Black Panther party right here in Oakland. And we honor that by having so many different 10-point programs up in our theater too. We have the Brown Berets, Red Guard Party, Black Panthers, of course, the American Indian Movement as well. So we're always thinking about that kind of organizing and movement building that has been tied here for many decades now.  [00:15:53] Elena: I heard that the term Third World came from the Bandung conference. [00:15:58] Aubrey: Yes, I believe that's true.  [00:16:01] Elena: I wanted to say particularly right now, the need for specifically Black Asian solidarity is just, there's so much misinformation around China coming up now, especially as China takes on a role of a superpower in the world. And it's really up to us to provide some background, some other information, some truth telling, so folks don't become susceptible to that kind of misinformation. And whatever happens when it comes from up high and we hate China, it reflects in Chinatown. And that's the kind of stereotyping that because we have been committed to Third World solidarity and truth telling for so long, that that's where we can step in and really, you know, make a difference, we hope. I think the main point is that we need to really listen to each other, know what folks are going through, know that we have more in common than we have separating us, especially in impacted Black, brown, Asian communities in Oakland. We have a lot to do.  [00:17:07] Aubrey: To keep in contact with Eastside Arts Alliance, you can find us at our website: eastside arts alliance.org, and our Instagrams at Eastside Cultural and at Bandung Books to stay connected with our bookstore and CArP, our archive, please come down to Eastside Arts Alliance and check out our many events coming up in the new year. We are always looking for donations and volunteers and just to meet new friends and family.  [00:17:36] Susanne: And with that, we're gonna go out with Jon Jang's “The Pledge of Black Asian Alliance,” produced in 2018.  [00:18:29] Emma: This was a round table discussion at the Eastside Arts Alliance Cultural Center with staff and guests: Elena, Suzanne and Aubrey.  Let's Talk Audio series is one of OACC'S Open Ears for Change projects and as part of the Stop the Hate Initiative with funds provided by the California Department of Social Services in consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families and offer prevention and intervention services to tackle hate in our communities. This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media.  [00:19:18] A special thanks to Jon Jang for permission to use his original music. And thank you for listening.  [00:19:32] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow, live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. OACC Podcast [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the eighth episode of our Let's Talk audio series. Let's talk as part of OACC's Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight black and Asian solidarity and community efforts specifically in the Oakland Chinatown area.   [00:00:43] Today's guests are Elena Serrano and Suzanne Takahara, co-founders of Eastside Arts Alliance. Welcome Elena and Suzanne, thank you so much for joining today's episode. And so just to kick things off, wanna hear about how was Eastside Arts Alliance started?   [00:01:01] Susanne: Well, it was really Greg Morozumi who had a longstanding vision of creating a cultural center in East Oakland, raised in Oakland, an organizer in the Bay Area, LA, and then in New York City where he met Yuri Kochiyama, who became a lifelong mentor.   [00:01:17] Greg was planning with one of Yuri's daughters, Ichi Kochiyama to move her family to Oakland and help him open a cultural center here. I met Greg in the early nineties and got to know him during the January, 1993 “No Justice, No Peace” show at Pro Arts in Oakland. The first Bay Graffiti exhibition in the gallery. Greg organized what became a massive anti-police brutality graffiti installation created by the TDDK crew. Graffiti images and messages covered the walls and ceiling complete with police barricades. It was a response to the Rodney King protests. The power of street art busted indoors and blew apart the gallery with political messaging. After that, Greg recruited Mike Dream, Spy, and other TDK writers to help teach the free art classes for youth that Taller Sin Fronteras was running at the time.   [00:02:11] There were four artist groups that came together to start Eastside. Taller Sin Fronteras was an ad hoc group of printmakers and visual artists activists based in the East Bay. Their roots came out of the free community printmaking, actually poster making workshops that artists like Malaquias Montoya and David Bradford organized in Oakland in the early 70s and 80s.   [00:02:34] The Black Dot Collective of poets, writers, musicians, and visual artists started a popup version of the Black Dot Cafe. Marcel Diallo and Leticia Utafalo were instrumental and leaders of this project. 10 12 were young digital artists and activists led by Favianna Rodriguez and Jesus Barraza in Oakland. TDK is an Oakland based graffiti crew that includes Dream, Spie, Krash, Mute, Done Amend, Pak and many others evolving over time and still holding it down.   [00:03:07] Elena: That is a good history there. And I just wanted to say that me coming in and meeting Greg and knowing all those groups and coming into this particular neighborhood, the San Antonio district of Oakland, the third world aspect of who we all were and what communities we were all representing and being in this geographic location where those communities were all residing. So this neighborhood, San Antonio and East Oakland is very third world, Black, Asian, Latinx, indigenous, and it's one of those neighborhoods, like many neighborhoods of color that has been disinvested in for years. But rich, super rich in culture.   [00:03:50] So the idea of a cultural center was…let's draw on where our strengths are and all of those groups, TDKT, Taller Sin Fronters, Black artists, 10 – 12, these were all artists who were also very engaged in what was going on in the neighborhoods. So artists, organizers, activists, and how to use the arts as a way to lift up those stories tell them in different ways. Find some inspiration, ways to get out, ways to build solidarity between the groups, looking at our common struggles, our common victories, and building that strength in numbers.   [00:04:27] Emma: Thank you so much for sharing. Elena and Suzanne, what a rich and beautiful history for Eastside Arts Alliance.   [00:04:34] Were there any specific political and or artistic movements happening at that time that were integral to Eastside's start?   [00:04:41] Elena: You know, one of the movements that we took inspiration from, and this was not happening when Eastside got started, but for real was the Black Panther Party. So much so that the Panthers 10-point program was something that Greg xeroxed and made posters and put 'em up on the wall, showing how the 10-point program for the Panthers influenced that of the Young Lords and the Brown Berets and I Wor Kuen (IWK).   [00:05:07] So once again, it was that Third world solidarity. Looking at these different groups that were working towards similar things, it still hangs these four posters still hang in our cultural, in our theater space to show that we were all working on those same things. So even though we came in at the tail end of those movements, when we started Eastside, it was very much our inspiration and what we strove to still address; all of those points are still relevant right now.   [00:05:36] Susanne: So that was a time of Fight The Power, Kaos One and Public Enemy setting. The tone for public art murals, graphics, posters. So that was kind of the context for which art was being made and protests happened.   [00:05:54] Elena: There was a lot that needed to be done and still needs to be done. You know what? What the other thing we were coming on the tail end of and still having massive repercussions was crack. And crack came into East Oakland really hard, devastated generations, communities, everything, you know, so the arts were a way for some folks to still feel power and feel strong and feel like they have agency in the world, especially hip hop and, spray can, and being out there and having a voice and having a say, it was really important, especially in neighborhoods where things had just been so messed up for so long.   [00:06:31] Emma: I would love to know also what were the community needs Eastside was created to address, you know, in this environment where there's so many community needs, what was Eastside really honing in on at this time?   [00:06:41] Elena: It's interesting telling our story because we end up having to tell so many other stories before us, so things like the, Black Arts movement and the Chicano Arts Movement. Examples of artists like Amiri Baraka, Malaguias Montoya, Sonya Sanchez. Artists who had committed themselves to the struggles of their people and linking those two works. So we always wanted to have that. So the young people that we would have come into the studio and wanna be rappers, you know, it's like, what is your responsibility?   [00:07:15] You have a microphone, you amplify. What are some of the things you're saying? So it was on us. To provide that education and that backstory and where they came from and the footsteps we felt like they were in and that they needed to keep moving it forward. So a big part of the cultural center in the space are the archives and all of that information and history and context.   [00:07:37] Susanne: And we started the Malcolm X Jazz Arts Festival for that same reason coming out of the Bandung Conference. And then the Tri Continental, all of this is solidarity between people's movements.   [00:07:51] Emma: You've already talked about this a little bit, the role of the arts in Eastside's foundation and the work that you're doing, and I'd love to hear also maybe how the role of the arts continues to be important in the work that you're doing today as a cultural center.   [00:08:04] And so my next question to pose to you both is what is the role of the arts at Eastside?   [00:08:10] Elena: So a couple different things. One, I feel like, and I said a little bit of this before, but the arts can transmit messages so much more powerfully than other mediums. So if you see something acted out in a theater production or a song or a painting, you get that information transmitted in a different way.   [00:08:30] Then also this idea of the artists being able to tap into imagination and produce images and visions and dreams of the future. This kind of imagination I just recently read or heard because folks aren't reading anymore or hardly reading that they're losing their imagination. What happens when you cannot even imagine a way out of things?   [00:08:54] And then lastly, I just wanted to quote something that Favianna Rodriguez, one of our founders always says “cultural shift precedes political shift.” So if you're trying to shift things politically on any kind of policy, you know how much money goes to support the police or any of these issues. It's the cultural shift that needs to happen first. And that's where the cultural workers, the artists come in.   [00:09:22] Susanne: And another role of Eastside in supporting the arts to do just that is honoring the artists, providing a space where they can have affordable rehearsal space or space to create, or a place to come safely and just discuss things that's what we hope and have created for the Eastside Cultural Center and now the bookstore and the gallery. A place for them to see themselves and it's all um, LGBTA, BIPOC artists that we serve and honor in our cultural center. To that end, we, in the last, I don't know, 8, 9 years, we've worked with Jose Navarrete and Debbie Kajiyama of Naka Dance Theater to produce live arts and resistance, which gives a stage to emerging and experienced performance artists, mostly dancers, but also poets, writers, theater and actors and musicians.   [00:10:17] Emma: The last question I have for you both today is what is happening in the world that continues to call us to action as artists?   [00:10:27] Elena: Everything, everything is happening, you know, and I know things have always been happening, but it seems really particularly crazy right now on global issues to domestic issues. For a long time, Eastside was um, really focusing in on police stuff and immigration stuff because it was a way to bring Black and brown communities together because they were the same kind of police state force, different ways.   [00:10:54] Now we have it so many different ways, you know, and strategies need to be developed. Radical imagination needs to be deployed. Everyone needs to be on hand. A big part of our success and our strength is organizations that are not artistic organizations but are organizing around particular issues globally, locally come into our space and the artists get that information. The community gets that information. It's shared information, and it gives us all a way, hopefully, to navigate our way out of it.   [00:11:29] Susanne: The Cultural Center provides a venue for political education for our communities and our artists on Palestine, Haiti, Sudan, immigrant rights, prison abolition, police abolition, sex trafficking, and houselessness among other things.   [00:11:46] Elena: I wanted to say too, a big part of what's going on is this idea of public disinvestment. So housing, no such thing as public housing, hardly anymore. Healthcare, education, we're trying to say access to cultural centers. We're calling that the cultural infrastructure of neighborhoods. All of that must be continued to be supported and we can't have everything be privatized and run by corporations. So that idea of these are essential things in a neighborhood, schools, libraries, cultural spaces, and you know, and to make sure cultural spaces gets on those lists.   [00:12:26] Emma: I hear you. And you know, I think every category you brought up, actually just now I can think of one headline or one piece of news recently that is really showing how critically these are being challenged, these basic rights and needs of the community. And so thank you again for the work that you're doing and keeping people informed as well. I think sometimes with all the news, both globally and, and in our more local communities in the Bay Area or in Oakland. It can be so hard to know what actions to take, what tools are available. But again, that's the importance of having space for this type of education, for this type of activism. And so I am so grateful that Eastside exists and is continuing to serve our community in this way.   What is Eastside Arts Alliance up to today? Are there any ways we can support your collective, your organization, what's coming up?   [00:13:18] Elena: Well, this is our 25th anniversary. So the thing that got us really started by demonstrating to the community what a cultural center was, was the Malcolm X Jazz Arts Festival, and that this year will be our 25th anniversary festival happening on May 17th.   [00:13:34] It's always free. It's in San Antonio Park. It's an amazing day of organizing and art and music, multi-generational. It's beautiful. It's a beautiful day. Folks can find out. We have stuff going on every week. Every week at the cultural center on our website through our socials. Our website is Eastside Arts alliance.org, and all the socials are there and there's a lot of information from our archives that you can look up there. There's just just great information on our website, and we also send out a newsletter.   [00:14:07] Emma: Thank you both so much for sharing, and I love you bringing this idea, but I hear a lot of arts and activism organizations using this term radical imagination and how it's so needed for bringing forth the future that we want for ourselves and our future generations.   [00:14:24] And so I just think that's so beautiful that Eastside creates that space, cultivates a space where that radical imagination can take place through the arts, but also through community connections. Thank you so much Elena and Suzanne for joining us today.   [00:14:40] Susanne: Thank you for having us.   [00:15:32] Emma: Let's Talk Audio series is one of OACC'S Open Ears for Change projects and is part of the Stop the Hate Initiative with funds provided by the California Department of Social Services. In consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families, and offer prevention and intervention services to tackle hate in our communities.   This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media. A special thanks to Jon Jang for permission to use his original music, and thank you for listening.   [00:16:34] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow. Live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. The post APEX Express – August 14, 2025 appeared first on KPFA.

Nearly half of San Francisco's seniors lack the money to meet their basic needs. At Saint Francis Living Room in the Tenderloin, seniors help each other.

Today is all about learning what our elders can teach us about caring for one another. First, a unique living room in the Tenderloin helps vulnerable seniors meet their daily needs. Then, how community choirs are providing more than just a fun time.

See omnystudio.com/listener for privacy information.

Pork Tenderloin in the Air Fryer 07/22/25

Bilal Mahmood became the first Muslim American elected to the San Francisco Board of Supervisors last year. Now, Mahmood is proposing controversial legislation to put homeless shelters in each supervisorial district throughout the city. Scott is joined in studio by Mahmood, who represents the city's fifth district including the Haight-Ashbury, Fillmore, Western Addition and Tenderloin neighborhoods.     Learn more about your ad choices. Visit megaphone.fm/adchoices

The Garment District in New York City undergoes a fascinating transformation from its origins as a red-light district known as "The Tenderloin" to becoming the epicenter of American fashion manufacturing and design. We explore how this neighborhood shaped the American fashion industry through crisis, innovation, and cultural shifts.My links : https://linktr.ee/magnifiquepodSupport the show

In Part 2, we pick up where we left off in Part 1. Dregs shares the story of the day he started doing graffiti. It was also when he began experimenting with rapping. Dregs talks about all the “cool shit in The City” back then, the early 2000s. From sports and music to the aforementioned underworld of San Francisco, SF was lit. It was a time when you could simply step outside your home and find something or someone or some people. You could take a random Muni ride and let stuff happen. And it happened all over town, with creativity pouring out of so many corners. For Dregs, tagging happened first. He started hanging out more in The Sunset, which was quieter than his own hood. He and his buddies would tag, hang out in the park with their boomboxes, drink 40s, and freestyle. One of those buddies had a computer audio-editing program and a cheap mic (RIP Radio Shack). That friend sent him a track over AIM and it blew young Dregs away. Then he learned that two other guys wanted to battle. Dregs hopped on a bus to Lawton Park to join in. It was his first rap battle. The crew that battled that day ended up uniting and making more and more music together. They formed a tagging crew called GMC (Gas Mask Colony), which didn't last long as as a tagging crew, but they kept the name for their rap group. But the group splintered. As mentioned, Dregs ended up at ISA in Potrero. He got into a DJ program and honed his skills. Soon, it was time to get into a studio to lay down some tracks. They recorded their first song and people liked it. The crew of four included several different ethnicities and neighborhoods across San Francisco, so they had widespread reach. We take a sidebar to discuss how Dregs got his name. It's a story that involves the movie Scarface. Because of time, I ask Dregs to walk us quickly through the years between getting underway with hip-hop and starting his show, History of The Bay. He did music with his GMC posse as well as some solo projects. Days of hanging out and drinking 40s gave way to adult-life realities—jobs and such. They hadn't figured out a way to make money off their art. Dregs went to City College and then spent two years at UC Riverside. He came back and worked as a youth counselor in the Tenderloin. At another job in TL, a woman in supportive housing where Dregs worked had a psychotic breakdown. He was the only employee around, and even though he was about to leave for the day, he helped her out. The next day, a boss type thanked Dregs, but told him he'd never get properly compensated for what he did until or unless he had a bachelor's degree. And so he enrolled at SF State. He was in his late-twenties at this point, and did better in school than he had ever done. He was a straight-A student, in fact. He took a heavy courseload. It was the first time he'd had Black teachers. One of them advised Dregs to go to graduate school. He looked through the graduate-level programs available and decided that law was his best fit. And so off he went, to law school in Davis. He did well at this level, also. He graduated, passed the California bar, and got hired by a firm. He was making good money and thought about saying good-bye to making music. But then the folks he worked with at the law firm convinced him not to. One of the first cuts he did in that era was a collaboration with Andre Nikatina called “Fog Mode.” When the song dropped, it was the pandemic. Dregs had been doing his law work from home. It “sucked,” he tells me. But the track took on a life of its own. He realized amid it all that it was time to go for it with his art. One of the first steps was to get his social media ramped up. Some people suggested TikTok, but Dregs wasn't sure what content to throw up on that app. Others said, “Talk about you, talk about your interests.” He looked around and realized that no one out there was really talking about the SF/Bay hip-hop Dregs grew up on, or the prolific taggers he ran with. Around this time, in December 2021, his dad passed away. In the early stages of his grief, Dregs figured it was once again time to quit art and turn his energy and attention to taking care of his mom. But then something happened, something that some of us who've experienced loss can possibly relate to. In March 2022, Dregs launched History of The Bay on TikTok. With his music and social media popping, his law work took a back seat. Folks in his firm took notice and laid Dregs off. It was for the best. Find Dregs online at his website or on social media @dregs_one. Get History of The Bay on any podcast app. We end the podcast with Dregs' take on our theme this season—keep it local.

Joanna Sokol's life as a paramedic took her to three different counties: the casinos and trailer parks of the Nevada desert, the cozy beach town of Santa Cruz, and, eventually, the crowded tenements of San Francisco's Tenderloin district.There are no clear villains or heroes in Sokol's world, only a group of patients and medics who are doing their best in a deeply broken system.  She tells many stories of that time in the new book, “A Real Emergency: Stories from the Ambulance.”

Thanks to Patsy's Pub for the tenderloins! They are sooooo good! It’s #TenderloinTuesday with the Smiley Morning Show and Visit Hamilton County, Indiana!! Go to www.tenderlointuesday.com to get the deals!!See omnystudio.com/listener for privacy information.

This week Kate has gone to an immersive theater experience in the Tenderloin. Maysoun goes to see art in the Tenderloin. Everyone goes to the Tenderloin. Plus coffee. The music in this episode is by DeerhoofCompton's Cafeteria Riot (the play)Tenderloin MuseumScreaming Queens'It's erasure': One of San Francisco's most celebrated sites is at a crossroadsOakland Liberation Center Hosted on Acast. See acast.com/privacy for more information.

In Part 2, we pick up where we left off in Part 1. Young Ed was studying at UC Davis and exploring his sexuality. He didn't consider himself bisexual, and instead thought that everyone was fluid. But he thought he had made a choice—that is, to be heterosexual. Part of that decision is that Ed always wanted a family of his own, and therefore, partnering with a woman was the only way to achieve that. But between relationships with women, Ed would visit “cruise-y bathrooms,” places known for their hookup potential. This was before the internet and smartphones. Stuff like this was word-of-mouth and need-to-know. But during his visits, Ed never hooked up with anyone. He says that he merely wanted to be adjacent to that world. After he graduated, Ed stayed in Davis. One day over coffee with a female friend at a lesbian cafe, his friend told him that she might be bi. He said he might be, too. She suggested that they “go to this club in San Francisco” where they could scratch that itch, so to speak. Ed says that The Box remains the most diverse array of folks in the LGBTQIA+ community he has ever been part of. And it wasn't diverse only on the sexuality spectrum. There were folks from all over the gender spectrum, too, he says. Ed watched men of various ethnic backgrounds dancing with one another and thought, ‘Why are those straight guys dancing with each other? Wait, they're not straight. Wait, I'm not straight.' So now he knew. But the question of whether and how to come out was a totally separate question. It was the mid-Nineties. Coming out was, in Ed's words, “really fucking scary.” He remembered that his dad, who has since come around and is loving and accepting of who his son is, often used homophobic slurs casually when Ed was a kid. Still, Ed summoned the courage and started telling folks. His mom was cool. His dad and brother were cool, too, but also probably confused. His friends shrugged him off in a very “no duh” kinda way. But there was that one member of his friend group for whom the news seemed not to sit well. Brad had been Ed's friend since seventh grade back in Hawaii. Three months after coming out to his friends, Brad let Ed know that he, too, wanted to come out of the closet, but that Ed had stolen his thunder. Laughs all around. Going back to that night at The Box, Ed met someone and they started dating. His new partner lived in Berkeley and Ed moved in (they had a roommate). Then Ed and that first boyfriend moved to the Tenderloin together, followed by a move to the Mission. Ed got a job teaching at Balboa High School in The City. He says he was so young (23) and blended in with students enough that on his first day, the principal at Balboa told him to get to class. Again, belly laughs. Ed loved teaching and did well at it. He lasted at Balboa from 1996 to 2001, teaching English as a second language to students from all over the world. The conversation shifts to the moment when Ed realized that San Francisco was home. Despite being here so long (since the mid-Nineties), Ed feels that SF is one of several places for him. Hawaii will always hold a place in his heart. He says that his sense of adventure and curiosity have him roaming around to other cultures regularly. But being married and having kids of his own grounds him in The City. One of his two children experiences mental health challenges, so that makes leaving tricky. All of that and community. Community keeps him here. I get it. One space Ed finds community is at The Social Study, where we recorded. It's his neighborhood bar, the place where bartenders know his drink without him ordering it. The spot where other regulars and semi-regulars ask him details about his life. Sure, he could find that in another part of town or in another city altogether. But right now, that community is his. And he relishes it. There's also his work. Aside from classroom teaching, Ed did some after-school work, education philanthropy work, and some other education-related jobs. Early in the pandemic, his non-binary older kid struggled. Ed says that in hindsight, he wished he had taken his child out of “Zoom school.” He wanted the kid to pick one topic, whatever they wanted, and learn that. They would spend time outside and hang out together. But that's not what happened. The teacher in Ed pushed his kid, over and over. Ed and his partner were able to find support groups around SF and the Bay Area that work with children who exhibit mental health issues. That helped, but he eventually realized that his own parenting needed help and support, because it wasn't meeting the moment. He sought that help, but wasn't impressed. He says it was mostly folks telling him what he was doing wrong, instead of being supportive and uplifting and actually teaching him. He found a couple of tools that served as Band-Aid solutions, but he was left looking and looking and looking for answers. He needed help that acknowledged and addressed his own traumas. And so he began working more or less on his own. One of his first discoveries was recognizing a moment, however short and fleeting, between his kid's stimulating action or words and Ed's reaction. If he could interrupt that automatic reaction and gain control of his own emotions, it would serve both himself and his kid. He worked on stretching out that time … from one second to two seconds and eventually to five. Once he got there, he could respond thoughtfully and lovingly vs. reacting. Realizing that he was able to overcome his shortcomings as a parent all on his own lead to Ed's founding of The Village Well. He'd met others who were aligned with his parenting experiences. He knew that if they created a space where folks in their situations could come for comfort and sharing and advice, they'd be doing the right thing. If you're interested in learning more, please visit The Village Well's website and follow them on social media @villagewellparenting. As we do at Storied: San Francisco, we end this podcast with Ed Center's take on our theme this season—keep it local. We recorded this podcast at The Social Study in June 2025. Photography by Jeff Hunt

Joanna Sokol spent years as an EMT, including working as a wilderness EMT and a ski patroller. She also has worked in the desert in Reno and in the Tenderloin district of San Francisco. Now she chronicles 15 years of her experience as a paramedic in her new memoir, A Real Emergency: Stories from the Ambulance. Sokol discusses, and listeners call in to speak about their time working as an EMT.

In Part 2, we start off talking about the underground nature of trans and drag safe spaces such as Compton's back in the Sixities, and well before that. Because of this, precise records of places and events are often hard to come by. Saoirse also speaks to the human psychology of needing other people to act in order to justify joining an action. Of course, everyone's threshold for this varies. Shane joins in to talk about how queer history is the story of fighting back against hate when there's nothing left to lose. Folks on the frontlines of these battles don't always plan the fights that end up happening. Case in point—the events at Compton's Cafeteria that form the basis of the play. Then we shift the conversation to talk about Compton's Cafeteria Riot and how the play came about. Mark Nassar (Tony and Tina's Wedding) saw the Tenderloin Museum's (TLM) exhibition on the riot at Compton's and soon got in touch with Donna Personna and Collette LeGrande through a project the two were working on at the time—Beautiful by Night, a short documentary about their lives as trans people and drag queens. Over the course of about a year of periodic meetings at Mark's house, where Donna and Collette shared their stories of Compton's and the riot, the three weaved together enough personal stories to create an immersive play. Katie Conry at the Tenderloin Museum told the group that if something ever came out of what they're doing, to let her know. Shane shares her story of the first time she saw Donna Personna perform. Prior to that, Shane thought that drag was a young person's thing. She'd never seen someone of Donna's age do drag. But she was blown away and was able to meet Donna. That night, Donna hinted to Shane about the project she was working on with Mark Nassar and Collette LeGrande. She told Shane that when the time came, when they had something ready, she'd let her know. About a year later, Shane was at Mark's house reading for the role of Rusty, the character based on Donna. Some of this story has already appeared on Storied: SF, in the podcast on Katie and TLM. The museum helped bring the play to life by getting a space for the production. It was 2018. They were doing it. The first run of Compton's Cafeteria Riot lasted several months. It was deemed a success and the plan was to bring it back in 2020. But the universe had different ideas. Prior to the pandemic, the biggest challenge was securing a space. But then, Shane says she was at Piano Fight in February 2020 for an event to sign a lease on a new spot. Just a few weeks later, the first shelter-in-place orders were handed down. Shane speaks to what it means, now more than five years down the road and in a very different political and social environment, to get the play staged. And Saoirse talks about how honored she is and how personal it is for her to portray an actual living legend (Collette LeGrande). I ask Shane and Saoirse to respond to this season's theme on Storied—”keep it local.” Saorise then shares the story of being targeted and harassed by right-wing bigots (is there any other kind?) right here in San Francisco. She tells this story to emphasize that, even in The City, trans people are not safe from fascist transphobia and violence that are spreading across the nation and the world. She also speaks to the massive wealth disparity here in SF and The Bay. All of this to say that for Saoirse, keeping it local requires engaging with all of these truths. Shane begins by riffing off of Saoirse's response. She works for The City and County of San Francisco and wonders whether some of her coworkers know what's at risk. She points to right-wing groups coming to SF to hold “de-transition” events. She then ends the episode by cataloging the many reasons she loves The City and wants us all to fight for it. For more information and to buy tickets for Compton's Cafeteria Riot, please go to comptonscafeteriariot.com. And follow the production on Instagram @comptonscafeteriariot. We recorded this episode in the Compton's Cafeteria Riot play space in the Tenderloin in May 2025. Photography by Mason J.

Saoirse Grace was one of the first successful in vitro pregnancies in Massachusetts. In this episode, Saoirse is joined by her Compton's Cafeteria Riot play costar, Shane Zaldivar. The two share short versions of their respective life stories and how they got to the Bay Area and San Francisco. Then we dig into the history of the Compton's Cafeteria riot, followed by a conversation on the play about the riot, their roles in it, and the actual lived experiences of trans people today. Saoirse, who plays Collette in the play, was born in Boston and grew up a little there, and a little in San Diego. But she got into some trouble in school and was sent to reform school in Austria, near her ancestral homeland in the Dolomites. After high school, not exactly wanting to come back to the US, she went to France for college, where she studied Spanish language literature. This whole time, Saoirse was a professional actor. She started acting in third grade. By seventh grade or so, she knew that acting was something she loved to do. After about a decade of just acting, Saoirse joined an aerial circus, where she was a trapeze artist for a group in Texas called Sky Candy. After a few years in Austin, working and doing circus performances, Saoirse came to San Francisco to go to law school. She says, perhaps half-jokingly, that she still wanted to perform, but to do so in a way that made more money than acting. She went to USF and did some police accountability work, but ultimately, practicing law didn't work out. And so, after a short time in Las Vegas doing porn and sex work, Saoirse came back to The Bay to do a PhD program to become a professor. It was another opportunity to have an audience, but to also make more money than other performing careers. But that also didn't pan out. This run with the Compton's Cafeteria Riot play is Saoirse's first foray back into acting in more than a decade. Backing up a little, I ask Saoirse about her first move to San Francisco and what she thought of it. She shares the story of leaving Austin, packing up as much as she could fit on her bicycle in Seattle, and riding down the Pacific coast to get here. Wow. At the end of that roughly 1,000-mile ride, she arrived in The City during the Pride parade in 2013. The timing! She soon found work as a bicycle mechanic, something Saoirse still does more than a decade later. Then we get to know Shane Zaldivar, who plays Rusty in Compton's Cafeteria Riot. Shane was born and raised in Florida, where she spent time between there and Belize, where a lot of her family is from. Her mom had Shane when she was relatively young, and so she spent a lot of time with her mom's family, both in Belize and in the US. Life in Florida was rough for Shane. She was bullied a lot early in life for her femininity. She says that when she visits now, she gets no joy out of the place except to be with family members. Belize was much more hospitable for her. She went to middle school and high school in the Central American country. But she ended up getting a scholarship to attend college at Florida International University, which she says is a diverse place. It was at college that Shane had several awakenings—her sexuality, her love of doing drag. But she says her biggest realization, the one that led her to the Bay Area, was around cannabis. Where she had previously bought into the idea that weed was this terrible thing, from the first time Shane tried it, it changed everything for her. Shane set out to learn everything she could about the plant and its medicinal, healing properties. She took a college class in Florida on hallucinogens and in that class learned about a school in Oakland called Oaksterdam University. That's what led Shane to The Bay. She raised money for the flight and registration at her new school. Once here, she patched together a liberal arts degree in Oakland, studying such topics as hospitality, theater, and anthropology. It was 2014, and she lived in Oakland, too. But it dawned on her later that San Francisco was only a bridge away. After moving around from hostel to hostel, she found an affordable place of her own in The City. It didn't take Shane long to fall in love with the Bay Area. She soon discovered events like Folsom Street Fair and spots like The Stud. She got a job in the Ferry Building and found a place to live, a place she still resides in 10 years later. She says that San Francisco is where she really got to explore her art and her activism. In addition to being in a band, Shane is the Pop-up Drag Queen, a local fixture who performs al fresco, usually in front of the Ferry Building. Then we talk about her foray into acting, something that came about relatively recently in Shane's life. From the first time she acted, back in Florida, she felt an intense joy that has stayed with her. It marked the first time she played with gender. Today, she identifies as a trans woman. The first run of Compton's, back in 2018, was her return to the art and her first really serious acting gig. We wrap up Part 1 with the historical event behind the Compton's Cafeteria riot, the basis of the play. It was August 1966, so nearly 60 years ago. No one is sure of the exact date, but it was a weekend. “The Tenderloin at the time was the Vegas of San Francisco,” Saoirse tells us. The neighborhood was also the only place that drag queens and trans women were allowed to exist. There was less of a distinction between the two back then—something important to understand, both in this conversation and also in the play. Similarly to the story of Stonewall in New York (which took place two years after Compton's), police did their best not to let these folks exist. The cops commonly conducted raids and sweeps, both on the street and in otherwise safe spaces, which Compton's Cafeteria was. But on that day in August 1966, a trans woman at Compton's decided to fight back, throwing a mug of hot coffee on an officer. Her tight-knit community had her back, as did Vanguard (a radical queer and trans youth organization), and the riot had begun. Check back next week for Part 2 with Shane and Saoirse. And find tickets to the Compton's Cafeteria Riot play here. We recorded this podcast inside the performance space on Larkin in the Tenderloin where Compton's Cafeteria Riot is having its 2025 run. Photography by Jeff Hunt

Sam Rockwell (Bad Guys 2, The White Lotus, Moon) is an Academy Award-winning actor. Sam joins the Armchair Expert to discuss growing up in the Tenderloin of San Francisco, doing plays and improv with his mom at 10 years old, and the parallels between charm and fuel. Sam and Dax talk about stumbling into a Willy Wonka entrance doing his faker baker dancing, adopting delusions of grandeur that he moves like a stretch limo, and completing the two year Meisner program that changed his life. Sam explains getting recognized for the first time while bussing tables, how he builds characters with his acting teacher of 26 years, and the illusion of safety amid peaks and valleys of success.Follow Armchair Expert on the Wondery App or wherever you get your podcasts. Watch new content on YouTube or listen to Armchair Expert early and ad-free by joining Wondery+ in the Wondery App, Apple Podcasts, or Spotify. Start your free trial by visiting wondery.com/links/armchair-expert-with-dax-shepard/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Recently Jason was in SF to attend his daughter's college graduation, and he discusses his hotel..in one of worse parts of the city! Then, we all watch clips from "Love After Lock-Up". 

Moira and Adrian tackle the longstanding conservative fixation on the city of San Francisco, its people and its mores. From demographic anxieties, via Joan Didion's hippie-hate, to disaster movies, doom loops, and progressive prosecutors -- the history of SF-hate is a history of US politics. Books and media cited in this episode: Joseph Plaster, Kids on the Street: Queer Kinship and Religion in San Francisco's Tenderloin (2023)Susan Stryker, Victor Silverman (dirs.), Screaming Queens (2005)Thom Andersen, Los Angeles Plays Itself (2003)David Talbot, Season of the Witch: Enchantment, Terror, and Deliverance in the City of Love (2013) Joan Didion, Slouching Towards Bethlehem (1968)Eve Babitz, Eve's Hollywood (1974)Mike Davis, City of Quartz (1990)

Today on the HowToBBQRight Podcast, Tyler is BACK from his trip down to Texas (00:14), and he went on a mini BBQ crawl through San Antonio and Austin (03:44)! After months and months of waiting, Malcom FINALLY fired up the grill and cooked that camel tenderloin (16:01). Looking for a new grill to add to your arsenal? Primo Ceramic Grills has you covered (25:56)! I finally got Malcom to wear maroon in Starkville for Mother's Day, and it looks like some of y'all caught us on camera (26:40). Malcom has been thinking about trying Hot Boiled Peanuts on his smoker (33:54). Shoutout to everyone who's competing in both Memphis in May and Smoke Slam, this weekend (39:18). The Palmer Home is hosting their annual Skeet Shootout, and we're catering the WHOLE THING (43:09). I want to know if Malcom would do his take on Trash Can Baked Beans (46:18). If you're looking to take your cracker sandwiches to the next level, try wrapping those bad boys in bacon and throwing them on the smoker (51:01)! When it comes to brisket, is trimming REALLY necessary (52:34)? Weber came out with a new USA style grill, and I'm ordering one right now (56:31)! If you've got a whole pork loin you need to whip up, here's Malcom's FAVORITE ways to cook em (59:01). We've all had Mississippi Pot Roast before, but what are some of the OTHER uses for a whole chuck roast (1:01:39)?  

Larry Kwan shares about the vibrancy of the Tenderloin neighborhood and how we all face different challenges in life.

This week on the show we are joined by Donna Personna & Mark Nassar two of the three writers — along with Collette LeGrande — of The Compton's Cafeteria Riot which has returned to San Francisco's Tenderloin after a successful run in 2018. The immersive, interactive play brings to life the 1966 uprising in San Francisco's Tenderloin district that was one of the first acts of organized LGBTQ+ resistance in the United States pre-dating the Stonewall Riots by three years.Donna beings her real life experience of being part of the Tenderloin's LGBTQ+ community at the time of riot, and her years as an advocate for transgender rights to the story while Mark brings a career that includes being one of the creators of the long standing interactive theatre hit Tony & Tina's Wedding to bear on bringing this moment of sometimes hidden San Francisco history to life.SHOW NOTESThe Compton's Cafeteria Riot Screaming Queens: The Riot at Compton's Cafeteria Donna The Next Stage Immersive Summit Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Oakland-based graphic artist Hugh D'Andrade, author of the graphic novel “The Murder Next Door,” talks about: His first graphic novel, The Murder Next Door, including what led him to finally making a graphic novel after being a big fan of them for a long time; studying fine art at the California College of Arts and Crafts back in the 1980s, and then going back to the same school, now called simply California College of the Arts, to get a masters in graphic novels; graphic novelists who have been influential to Hugh, including Adrian Tomine from nearby Berkeley, Chris Ware, who he refers to as both a giant and a genius in the field, as well Art Spiegelman, Thi Bui (whom he had as one of his graphic novel professors), Marjane Satrapi, and Phoebe Glockner; how the graphic novelists he's met have generally been very talkative and have quirky sensibilities, but also have introverted streaks which are necessary for long stretches alone that are necessary for producing their work; how he worked on the beginning of his graphic novel while in grad school, where the crits were very nurturing and supportive, unlike crits from back in the day (undergrad); where graphic novel reading falls in our attention economy; the value he puts on the hand-drawn in comics, with modest digital intervention; and how Vipassana meditation, the first chapter of the book, played a big role in Hugh's healing journey…. [the Conversation continues for another hour in the BONUS episode for Patreon supporters] In the 2nd half of the full conversation (available to Patreon supporters), Hugh talks about: the distinction between cartooning and illustration, and how challenging it is to render a person from multiple views in that style; what feedback he's gotten so far, with at least one reader saying that it was ‘very unique,' probably meaning they found it too dark; the roll his parents played (or didn't play) in healing from his trauma (the murder the book is focused on); his trolling of conspiracy theorists on social media (which is described in the book), which came out of his reaction to people making things up about who was responsible for the murder, along with the pros and cons of engaging with a conspiracy theorist; his description of 3 or 4 major career trajectory paths for artists in big art capitals, inspired by his nephew and students and their impending career paths- the A path/A-train: rock star; B path/B train: you have a partner who has a job/supports you financially;  C path/train: artist with a day job;  D-train: you live just outside of a major city, or in a college town, or rural areas; housing in the U.S., particularly in the art capitals (a sort of passion of both of ours) and how he bought a house in East Oakland, a part of the city he had never been in and he'd been living in the East Bay for decades; how he's in a ‘coffee dessert,' meaning he needs to drive at least 10 minutes to get to a good coffee spot, leading to a beautiful paradox: as a participant in gentrifying his neighborhood, he realizes that as soon as that fancy coffee place pops up in his neighborhood, the gentrification will essentially be complete; the neighborhoods Hugh lived in in San Francisco, particularly the Mission, Hayes Valley and the Tenderloin, and their respective reputations and what he experienced living there as an older young person going to punk shows and the like; his friend Rebecca Solnit's book Hollow City, about how gentrification displaces people of color as well as creative communities; we dig quite a bit into the weeds of the housing crisis, and how he lived on the cheap in the Bay Area for years, including getting around by bike up until 10 years ago; and finally he talks about his music show highlights over the years, including his changing relationship to the Grateful Dead over the decades. 

In this month's edition of The Bay's monthly news roundup, Alan, Jessica, and Ericka talk about what happened when a Marin County school board member questioned the term “toxic masculinity,” delays in finding a new site for San Jose's iconic flea market, and an Eid festival coming to San Francisco's Tenderloin. Plus, we discuss threats to public media funding. Links: Watch: NPR, PBS Heads Answer Lawmakers' Allegations of Bias A Marin School Board Questioned the Term ‘Toxic Masculinity.' Then Came the Backlash State law blocks potential San Jose flea market site San Francisco's Tenderloin Is Bringing a New Eid Festival to Its Streets  Learn more about your ad choices. Visit megaphone.fm/adchoices

A new “triage center” in San Francisco's South of Market neighborhood opened in early February. It's one of Mayor Daniel Lurie's first tangible initiatives to address the city's fentanyl crisis as he embarks on his first year in office. A second center is also planned in the Tenderloin. KQED's Sydney Johnson visited the new center and tells us what she saw. This episode was produced by Jessica Kariisa, Mel Velasquez, and Tessa Paoli, and guest hosted by Alan Montecillo. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick and Dustin are joined by their good friends John Smith. John is an avid woodsman whose skill set goes beyond any normal guy's understanding. The guys break down the last bit turkey action, morels and false morels, and the ins and outs of trapping here in Michigan. A very insightful episode. Takeaways: Talking turkeys. Hunting with the girls Talking kids and family Talking morels Nick finds one lone half free. Good year. 400+. Weather played out well this year Mushroom forums Talking whitetails. Got started with rabbit and squirrel Average season was 300 hour seasons Food plots, property management, screening food plots. Be out there consistently or not at all. Small parcel tactic. Talking summer shooting. Bows and total Archery challenge. Daughter first challenge and tracking. Trapping. Growing up trapping for fur. Doing nuisance control for beaver and coyote. Talking snares and body grippers Try to keep them scent free. Selling furs Beaver. Cutting out of the round? Beaver recipe. Beaver tail. Beaver tail beans? Bow setup. Shooting the 2009 Captain. Rage 2 blade Bow weights Bottom of the brisket inside or 5 Frying mushrooms. Making it good for everyone. Batter is key. Tenderloin and backstrap. Frying steaks Hit it in the batter flip and retrieve. Some sort of greens on the side. Show Partners: Umai Dry Instagram: @umaidry Website: bit.ly/3WhfnnX Sign up for the newsletter for 10% off TieBoss Instagram: @tiebossllc Website: https://tieboss.com/pod?ref=pod Learn more about your ad choices. Visit megaphone.fm/adchoices

Roz shivers into November as listeners call in to share their petrifying real life experiences with the paranormal! Meesh's old Tenderloin apartment came with a ghost pervert (it still gives her chills!), StormMiguel's psychic dreams all came true, and Margaret didn't expect to meet the ghost of Anne Boleyn—what a name dropper! Want to share YOUR paranormal experience on the podcast? Email your *short* stories to GhostedByRoz@gmail.com and maybe Roz will read it out loud on the show... or even call you! Be sure to follow the show @GhostedByRoz on Instagram. Support this podcast by shopping our latest sponsor deals and promotions at this link: https://bit.ly/3WwYCsr Learn more about your ad choices. Visit megaphone.fm/adchoices