TheatreWorks Silicon Valley presents 'Simple Gifts' through Dec. 27. (Courtesy TheatreWorks)
Rejoice, rejoice. While being home for the holidays might seem like a redundant concept this year, you don’t have to spend them in total isolation. Here are 12 ways to give yourself the gift of a little escapist pleasure at the end of this unprecedented year while supporting the Bay Area’s heavily impacted performing arts.
Taylor Mac gets saucy with the holidays. (Little Fang Photography)
Fans of full-spectrum spectacle need look no further than the works of MacArthur Fellow Taylor Mac, whose shows embody an expansive vision of queer abundance (and abundant queers). A regular visitor to the Bay Area, Mac first presented Holiday Sauce on the Curran stage in 2018, a sumptuous romp through holiday memories and songs. All proceeds of this year’s virtual offering will go to Openhouse, a local community resource for LGBTQ+ seniors.
Livestream Dec. 12 at 7pm only. On demand until Jan. 2. $10. Info and tickets here.
A beloved San Francisco holiday tradition, Golden Girls LIVE: Christmas Episodes offers nostalgia, drag hilarity, and genuine heart all wrapped up in a Betty White-channeling bow. Co-starring Heklina (Dorothy), Matthew Martin (Blanche), D’Arcy Drollinger (Rose) and Holotta Tymes (Sophia) as our quirky quartet, this year’s episodes will be streamed live from SF Oasis headquarters, complete with a virtual sing-along and VIP meet-and-greet with the cast.
Dec. 17-20, times vary. $30-$50. Info and tickets here.
Poets, performance artists, drag stars and circus acts alike appear on the New Conservatory Theatre Center’s virtual stage. Wrangled by Epic Party Theatre’s Richard A. Mosqueda, and hosted by operatic drag diva Dusty Pörn, this festive holiday sampler will fill you with holiday cheer. With Azuah, SevanKelee Lucky 7 Boult, Baruch Porras Hernandez, SNJV, and aerialist Joey The Tiger.
Dec. 13–Jan. 3, on demand. $10-$40. Info and tickets here.
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Santa Claus (Glen Micheletti) is here to save Christmas for you. (JW Darwin)
Worried about how the kiddies are going to get Santa their wishlist this year? Let expert magician and professional Santa Claus Glen A. Micheletti help. Like so many other performers, Santa Glen has developed ways to bring his act online, and offers personalized virtual visits for individual family units, large family “gatherings” and company ho-ho-holiday parties.
Rates start at $150 for one screen. Custom pricing and packages available for groups. Info and bookings here.
If you’re one of the thousands of Bay Area denizens who’ve seen Brian Copeland’s Not a Genuine Black Man, this holiday prequel is for you. A richly detailed portrait of Oakland city life as seen through the eyes of a six-year-old child on a quest to earn the perfect Christmas gift for his mother. Copeland’s performance is filmed live onstage at San Francisco Playhouse, and streamed on demand through Christmas Day.
Nov. 28–Dec. 25, 7pm. $15-$100. Info and tickets here.
San Jose’s City Lights Theater Company has been finding all kinds of creative ways to keep active, as this solo performance of Charles Dickens’ A Christmas Carol proves. Adapted and performed by prolific Bay Area actor and director Mark Anderson Phillips, this virtual tour de force will be mandatory viewing for those who enjoy their classics with a twist.
Dec. 15–Jan. 5, on demand. $10-$30 (or part of season pass). Info and tickets here.
Cast of ‘A Christmas Carol’ at A.C.T. in 2018. (Kevin Berne)
This beloved staple of Bay Area holiday tradition gets a socially distanced makeover in the form of a radio play adaptation, helmed by Peter J. Kuo (who also directed this summer’s successful Zoom production ofIn Love and Warcraft). Starring the redoubtable James Carpenter as Ebenezer Scrooge, this tale of Christmas spirit(s) continues to stand the test of time and circumstance.
Dec. 4–31, 6pm listening parties and on demand. $40–$60. Info and tickets here.
Buckle up bubbeleh. While gathering in restaurants in person may still be out of the question, there’s nothing stopping you from ordering up a few plates of Chinese food and hanging out with Lisa Geduldig and friends for the 28th annual Kung Pao Kosher Comedy show—the Christmas show by and for Jews. Featuring the award-winning talents of Judy Gold and Alex Edelman, and optional participant breakout rooms for schmoozing.
Dec. 24–26, times vary. Livestream. $25-$50. Info and tickets here.
The first U.S. company to perform the “full” version of Nutcracker, in 1944, the San Francisco Ballet hosts an annual, all-ages fantasia that attracts some 75,000 audience members per year. This year, sugar plum lovers will be able to view a classic performance choreographed by Helgi Tomasson, and filmed by KQED in 2007. Features the luminous Yuan Yuan Tan as the Snow Queen.
Nov. 27–Dec. 31. $49 for 48-hour access. Info and tickets here.
Kitka does its annual ‘Wintersongs’ tour around the Bay Area. (Photo: Tomas Pacha/Kitka )
Get into the fun tradition of counting down to Christmas with Kitka’s gift of Wintersong. Each day until Dec. 31, this all-woman vocal ensemble—who specialize in excavating the traditional music of Eastern Europe and the Balkans—will release one new song online for all to enjoy, free of charge (donations accepted).
When Tim Bond took over the artistic leadership of TheatreWorks in July, he stepped into a season beset by unanticipated challenges from the pandemic shutdown of live theatre. With Simple Gifts, he offers a welcome respite from the chaos, with a carefully chosen cast performing music from a diverse array of holiday traditions such as Kwanzaa, Christmas, Hanukkah, Noche Buena, Diwali and Las Posadas.
Dec. 10–28. Times vary. $10+. Info and tickets here.
‘Tis the season to get Scrooged, and Manual Cinema’s original take on Dickens’ classic is poised to be one of this year’s most memorable. Created by Chicago-based Manual Cinema, who infuse their multimedia projects with elements of live performance, this daring adaptation includes shadow puppets, live actors, projections, immersive sound design and original music. Co-presented with Cal Performances for three nights (and other organizations from Dec. 3-20).
Dec. 17-19, times vary, livestream. Info and tickets here.
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After all, the legendary LGBTQ+ bar had been around in various incarnations since 1966, nurturing the weird, alternative and experimental pockets of queer performance in San Francisco ever since.\u003c/p>\n\u003cp>The Stud’s official reopening at its new South of Market location (1123-1125 Folsom Street) finally arrives this Saturday, April 20, with a \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">Stud Time Machine\u003c/a> party celebrating its different eras. After a blessing from the Sisters of Perpetual Indulgence, festivities kick off at 6 p.m. with a 1960s cowboy-themed DJ set and performance. Each hour of the party will be dedicated to a different decade (“The Disco Era,” “The Club Kid Era”), culminating with a look into the future at midnight. Among the entertainers are original disco DJ Steve Fabus, who’s been spinning since the ’70s; drag diva (and fashion designer to the drag stars) Glamamore, performing an homage to the late \u003ca href=\"https://www.kqed.org/arts/13929572/heklina-castro-memorial\">Heklina\u003c/a>’s beloved party T-Shack; and multi-hyphenate artist Honey Mahogany, a Stud co-owner deeply involved in San Francisco politics.\u003c/p>\n\u003cp>As the Stud gears up for its grand reopening, Mahogany spoke with KQED’s Adhiti Bandlamudi about what lies ahead in this new iteration of San Francisco’s oldest queer bar.\u003c/p>\n\u003cfigure id=\"attachment_13915269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany speaks during a rally after the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adhiti Bandlamudi:\u003c/strong> The Stud has such a rich history, and the theme of tomorrow’s opening night party reflects that. Can you tell us more about that?\u003c/p>\n\u003cp>\u003cstrong>Honey Mahogany:\u003c/strong> The Stud first opened in 1966. It’s been the living room for so many people, not just in the neighborhood, but across the country. During the ’60s, it really started off as a leather bar, and then really became more of a Western bar. But it quickly evolved into a place where everyone felt welcome — whether it be women, queers, hair fairies or trans people. So many different groups and communities feel welcome at the Stud.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My favorite story of the Stud is that during the ’60s … Huey Newton, who was one of the leaders of the Black Panther Party, made this incredible speech where he talked about building unity between the women’s movement and the LGBTQ movement. One of the first places that the LGBTQ Liberation Front and the Black Panther Party actually met was at the Stud.\u003c/p>\n\u003cp>\u003cstrong>The Stud has faced several closures in the past. And every time that idea became more of a reality, it sounds like community members who really care about the bar came together to keep it alive. In 2016, when the previous owner was going to retire, you and other artists, DJs and performers got together and started the Stud Collective. As I understand it, it’s one of the first co-op nightclubs in the country. How has this collective model made a difference as you get ready to open the state again?\u003c/strong>\u003c/p>\n\u003cp>It was sort of, I don’t want to say an act of desperation, but so many LGBTQ nightlife venues were closing all across the country, and especially here in San Francisco. LGBTQ venues were being priced out. Certainly, that was the case with the Stud, where the previous owner was just like, “I can’t afford to pay triple what I was paying in rent. So I can’t do this anymore.” And he really made a callout to the community, hoping that someone would come and save the Stud.\u003c/p>\n\u003cp>The Stud has always been kind of a dive bar \u003cspan style=\"font-weight: 400\">— \u003c/span>more of a community space than a big moneymaker. So a bunch of us who could not have afforded to buy the bar on our own \u003cspan style=\"font-weight: 400\">— \u003c/span>a group of 17 \u003cspan style=\"font-weight: 400\">—\u003c/span> worked to build the collective, set up a system of rules, come up with a plan for how we were going to save the Stud, and we were successful.\u003c/p>\n\u003cp>I won’t say that it was easy. It was lots of long nights, lots of arguments, lots of personalities and ideas. But ultimately, I do think that having collective ownership of a space like the Stud is really important because it ensures that the space remains open.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m curious to understand more about that journey, especially because of COVID and the aftereffects of it. What has that journey been like?\u003c/strong>\u003c/p>\n\u003cp>COVID was a real bummer.\u003c/p>\n\u003cp>\u003cstrong>To say the least. \u003c/strong>[aside postid='arts_13936556']\u003c/p>\n\u003cp>We actually shut down relatively early, because we didn’t know what was going to happen or how soon we were going to open up. We also knew that we couldn’t afford to keep going. Actually, we did not go completely dark. We very quickly hopped online, hosting drag shows and DJ parties on the weekends, so people could safely enjoy performance art and drag and music from their own homes.\u003c/p>\n\u003cp>\u003cstrong>There’s also been some fundraising that’s been going on. \u003ca href=\"https://givebutter.com/c/Stud2024\">The crowdfunding goal\u003c/a> is $500,000, and last I checked, like $74,000 had been donated. And people are still donating.\u003c/strong>\u003c/p>\n\u003cp>The crowdfunding is just one part of where we’ve been raising money. We’ve been raising money through other spaces as well — selling some assets and things like that. And so right now we’re just above $425,000 that we’ve been able to pull together. So that leaves about $75,000 left that we have to raise. And we are really excited, because it’s enabled us to get this far.\u003c/p>\n\u003cfigure id=\"attachment_13880907\" class=\"wp-caption aligncenter\" style=\"max-width: 655px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg\" alt=\"A black-and-white photo of a drag queen nun and two mustached men partying.\" width=\"655\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-160x106.jpg 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991. \u003ccite>(Melissa Hawkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that $75,000 is going to be really key into seeing the longevity of the Stud, and also to really make the Stud what it used to be, which was not just a dance bar or a dance space, but also a place where there were epic, life-changing performances.\u003c/p>\n\u003cp>The space that we’ve taken over now is so cool, but it is not a performance space. We’ve got two separate bar areas and dance floors. But we do not have a stage. We do not have a dressing room. We do not have an area for the performers to be able to use the restroom and get changed and all of that stuff. So we want to take out the industrial kitchen that takes up a quarter of the bar currently, convert that into dressing rooms and bathrooms for the performers, and then also build out a stage so that we can bring back those epic Stud drag shows.\u003c/p>\n\u003cp>One of the ways in which we are incentivizing people to help us get to that $500,000 goal is we have the Stud’s opening night party this Saturday. We released tickets on Monday and, within six minutes, all sold out. There will be some tickets at the door. But folks are definitely planning on getting there early. [aside postid='arts_13953497']\u003c/p>\n\u003cp>\u003cstrong>The new Stud won’t just be a nightclub, right? There are plans to include a school that will teach the art of drag. Can you tell me more about that?\u003c/strong>\u003c/p>\n\u003cp>We are planning on opening the drag school. It’s going to be a collaboration between the Stud and CounterPulse. It’s going to be a bit of an interesting model because a lot of the classes will probably be off-site. But we are definitely going to train people in the art of drag, help them get their starts, provide them with mentors, bring specialists in — costuming, makeup, hair and performance and dance — and really give them the tools that they need to be successful.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Stud is located at 1123-1125 Folsom Street. \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">The Stud Time Machine\u003c/a> reopening party begins at 5:30 p.m. on April 20. \u003ca href=\"https://www.instagram.com/studsf\">Follow the Stud on Instagram\u003c/a> for updates on business hours and future events.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The historic bar's new SoMa location debuts with a time machine-themed party celebrating its different eras.","status":"publish","parent":0,"modified":1713559167,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1384},"headData":{"title":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening | KQED","description":"The historic bar's new SoMa location debuts with a time machine-themed party celebrating its different eras.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening","datePublished":"2024-04-19T18:34:21.000Z","dateModified":"2024-04-19T20:39:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/7fc79c25-862e-45d6-a298-b157011425d9/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.studsf.com/\">the Stud\u003c/a> closed its doors at the onset of the pandemic in 2020, its worker-owner collective vowed to one day return. After all, the legendary LGBTQ+ bar had been around in various incarnations since 1966, nurturing the weird, alternative and experimental pockets of queer performance in San Francisco ever since.\u003c/p>\n\u003cp>The Stud’s official reopening at its new South of Market location (1123-1125 Folsom Street) finally arrives this Saturday, April 20, with a \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">Stud Time Machine\u003c/a> party celebrating its different eras. After a blessing from the Sisters of Perpetual Indulgence, festivities kick off at 6 p.m. with a 1960s cowboy-themed DJ set and performance. Each hour of the party will be dedicated to a different decade (“The Disco Era,” “The Club Kid Era”), culminating with a look into the future at midnight. Among the entertainers are original disco DJ Steve Fabus, who’s been spinning since the ’70s; drag diva (and fashion designer to the drag stars) Glamamore, performing an homage to the late \u003ca href=\"https://www.kqed.org/arts/13929572/heklina-castro-memorial\">Heklina\u003c/a>’s beloved party T-Shack; and multi-hyphenate artist Honey Mahogany, a Stud co-owner deeply involved in San Francisco politics.\u003c/p>\n\u003cp>As the Stud gears up for its grand reopening, Mahogany spoke with KQED’s Adhiti Bandlamudi about what lies ahead in this new iteration of San Francisco’s oldest queer bar.\u003c/p>\n\u003cfigure id=\"attachment_13915269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany speaks during a rally after the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adhiti Bandlamudi:\u003c/strong> The Stud has such a rich history, and the theme of tomorrow’s opening night party reflects that. Can you tell us more about that?\u003c/p>\n\u003cp>\u003cstrong>Honey Mahogany:\u003c/strong> The Stud first opened in 1966. It’s been the living room for so many people, not just in the neighborhood, but across the country. During the ’60s, it really started off as a leather bar, and then really became more of a Western bar. But it quickly evolved into a place where everyone felt welcome — whether it be women, queers, hair fairies or trans people. So many different groups and communities feel welcome at the Stud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My favorite story of the Stud is that during the ’60s … Huey Newton, who was one of the leaders of the Black Panther Party, made this incredible speech where he talked about building unity between the women’s movement and the LGBTQ movement. One of the first places that the LGBTQ Liberation Front and the Black Panther Party actually met was at the Stud.\u003c/p>\n\u003cp>\u003cstrong>The Stud has faced several closures in the past. And every time that idea became more of a reality, it sounds like community members who really care about the bar came together to keep it alive. In 2016, when the previous owner was going to retire, you and other artists, DJs and performers got together and started the Stud Collective. As I understand it, it’s one of the first co-op nightclubs in the country. How has this collective model made a difference as you get ready to open the state again?\u003c/strong>\u003c/p>\n\u003cp>It was sort of, I don’t want to say an act of desperation, but so many LGBTQ nightlife venues were closing all across the country, and especially here in San Francisco. LGBTQ venues were being priced out. Certainly, that was the case with the Stud, where the previous owner was just like, “I can’t afford to pay triple what I was paying in rent. So I can’t do this anymore.” And he really made a callout to the community, hoping that someone would come and save the Stud.\u003c/p>\n\u003cp>The Stud has always been kind of a dive bar \u003cspan style=\"font-weight: 400\">— \u003c/span>more of a community space than a big moneymaker. So a bunch of us who could not have afforded to buy the bar on our own \u003cspan style=\"font-weight: 400\">— \u003c/span>a group of 17 \u003cspan style=\"font-weight: 400\">—\u003c/span> worked to build the collective, set up a system of rules, come up with a plan for how we were going to save the Stud, and we were successful.\u003c/p>\n\u003cp>I won’t say that it was easy. It was lots of long nights, lots of arguments, lots of personalities and ideas. But ultimately, I do think that having collective ownership of a space like the Stud is really important because it ensures that the space remains open.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m curious to understand more about that journey, especially because of COVID and the aftereffects of it. What has that journey been like?\u003c/strong>\u003c/p>\n\u003cp>COVID was a real bummer.\u003c/p>\n\u003cp>\u003cstrong>To say the least. \u003c/strong>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936556","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We actually shut down relatively early, because we didn’t know what was going to happen or how soon we were going to open up. We also knew that we couldn’t afford to keep going. Actually, we did not go completely dark. We very quickly hopped online, hosting drag shows and DJ parties on the weekends, so people could safely enjoy performance art and drag and music from their own homes.\u003c/p>\n\u003cp>\u003cstrong>There’s also been some fundraising that’s been going on. \u003ca href=\"https://givebutter.com/c/Stud2024\">The crowdfunding goal\u003c/a> is $500,000, and last I checked, like $74,000 had been donated. And people are still donating.\u003c/strong>\u003c/p>\n\u003cp>The crowdfunding is just one part of where we’ve been raising money. We’ve been raising money through other spaces as well — selling some assets and things like that. And so right now we’re just above $425,000 that we’ve been able to pull together. So that leaves about $75,000 left that we have to raise. And we are really excited, because it’s enabled us to get this far.\u003c/p>\n\u003cfigure id=\"attachment_13880907\" class=\"wp-caption aligncenter\" style=\"max-width: 655px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg\" alt=\"A black-and-white photo of a drag queen nun and two mustached men partying.\" width=\"655\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-160x106.jpg 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991. \u003ccite>(Melissa Hawkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that $75,000 is going to be really key into seeing the longevity of the Stud, and also to really make the Stud what it used to be, which was not just a dance bar or a dance space, but also a place where there were epic, life-changing performances.\u003c/p>\n\u003cp>The space that we’ve taken over now is so cool, but it is not a performance space. We’ve got two separate bar areas and dance floors. But we do not have a stage. We do not have a dressing room. We do not have an area for the performers to be able to use the restroom and get changed and all of that stuff. So we want to take out the industrial kitchen that takes up a quarter of the bar currently, convert that into dressing rooms and bathrooms for the performers, and then also build out a stage so that we can bring back those epic Stud drag shows.\u003c/p>\n\u003cp>One of the ways in which we are incentivizing people to help us get to that $500,000 goal is we have the Stud’s opening night party this Saturday. We released tickets on Monday and, within six minutes, all sold out. There will be some tickets at the door. But folks are definitely planning on getting there early. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953497","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The new Stud won’t just be a nightclub, right? There are plans to include a school that will teach the art of drag. Can you tell me more about that?\u003c/strong>\u003c/p>\n\u003cp>We are planning on opening the drag school. It’s going to be a collaboration between the Stud and CounterPulse. It’s going to be a bit of an interesting model because a lot of the classes will probably be off-site. But we are definitely going to train people in the art of drag, help them get their starts, provide them with mentors, bring specialists in — costuming, makeup, hair and performance and dance — and really give them the tools that they need to be successful.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stud is located at 1123-1125 Folsom Street. \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">The Stud Time Machine\u003c/a> reopening party begins at 5:30 p.m. on April 20. \u003ca href=\"https://www.instagram.com/studsf\">Follow the Stud on Instagram\u003c/a> for updates on business hours and future events.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening","authors":["11387","11672"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_3226","arts_5351","arts_1146"],"featImg":"arts_13934323","label":"arts"},"arts_13956326":{"type":"posts","id":"arts_13956326","meta":{"index":"posts_1591205157","site":"arts","id":"13956326","found":true},"guestAuthors":[],"slug":"tru-gourmet-dim-sum-farmers-market-oakland","title":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","publishDate":1713884513,"format":"standard","headTitle":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Ever since I was five years old, one of my favorite traditions has been going to the Grand Lake Farmers Market with my dad every Saturday morning. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Nadege.headshot.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>The market has been open since 1998 near the shore of Lake Merritt in Oakland, and it’s the perfect place to find almost anything you can think of — organic produce, fresh flowers and hot meals cooked to order while you wait. When I came with my dad, we’d order fresh gaufres from the Belgian waffle vendor, then browse the ripe nectarines and strawberries that were in season. Sometimes, we’d get rotisserie chicken and potatoes for lunch from one of the food trucks.\u003c/p>\n\u003cp>I even tried dim sum for the first time. One Saturday we noticed a stand called \u003ca href=\"https://www.instagram.com/trugourmet\">Tru Gourmet\u003c/a> that sold all kinds of steamed dumplings and buns. We ordered dumplings and crispy chicken wings, which turned out to be our favorite. Then we found somewhere near the booth to eat it all standing up.\u003c/p>\n\u003cp>That was about 10 years ago. As it turns out, Tru Gourmet is still around, setting up its stand at the Grand Lake Farmers Market — and \u003ca href=\"http://trugourmet.com/locations/\">two other farmers markets around the Bay Area\u003c/a> — every week. When I visited their tent on a recent Saturday, the line was so long that it almost crossed in front of the vendor next door. Inside, the cooks were busy heating the dumplings in bamboo steamers. Everything smelled so good, it was hard to choose. When I finally bit into a savory scallion pancake and delighted in the softness of a juicy pork bun, I urged my dad to order seconds.\u003c/p>\n\u003cfigure id=\"attachment_13956337\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg\" alt='A display showing different kinds of dim sum available, all arranged in bamboo steamers. A sign on the table reads, \"Cash Only.\"' width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A display of the different kinds of dim sum available at Tru Gourmet’s Grand Lake Farmers Market stand on a recent Saturday. \u003ccite>(Nadege Mulamba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I realize now is that it isn’t very typical for dim sum to be sold at a farmers market — in fact, Tru Gourmet seems to be the only business doing it regularly here in the Bay Area. It made me curious: What made these chefs decide to set up their business outdoors instead of selling their dumplings inside a more traditional dim sum restaurant? And why doesn’t it seem like very many others are doing it?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I had the opportunity to interview the owner, Olivia Liu, who shared her story of how the business started.\u003c/p>\n\u003cp>\u003ci>The following interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>\u003cb>KQED: When did you start this business? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Olivia Liu\u003c/b>: Tru Gourmet started with my mom, Cathy Tsui, back in August 2008.\u003c/p>\n\u003cp>\u003cb>Wow, almost sixteen years! Why did you want to create dim sum at the farmers market? \u003c/b>\u003c/p>\n\u003cp>My mother and I had a weekly tradition of dining on dim sum and visiting our local farmers markets, which gave us the idea to combine those two and start a family business. Dim sum translates into “touch of the heart.” Our goal is to touch your heart with handcrafted dim sum made from our hearts. [At Tru Gourmet,] you will find traditional dumplings one might see at popular dim sum houses and modern-day creations that aim to expand one’s view of dim sum, like black truffle shrimp dumplings or spiny lobster dumplings. We also have vegan dumplings such as our kale dumpling and bok choy dumpling, and seasonal [specials] like our asparagus dumpling.\u003c/p>\n\u003cp>We are proud to source most of our produce from the farmers markets we attend.\u003c/p>\n\u003cp>\u003cb>Did you know of any other businesses that were selling dim sum at farmers markets at that time?\u003c/b>\u003c/p>\n\u003cp>Back in 2008, we could have been the only ones. We have never seen [any other] dim sum at any farmers market, but it is common in food festivals.\u003c/p>\n\u003cfigure id=\"attachment_13956335\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg\" alt=\"A young woman in a white chef's jacket serves dim sum to a guest at a fancy gala.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">True Gourmet’s Olivia Liu serves dim sum at an event at the Headlands Center for the Arts in Sausalito. \u003ccite>(Andria Lo, courtesy of Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>About 10 years ago, my dad and I actually had chicken wings at your Grand Lake market stand. They were so good, and I was sad that you only seemed to sell them once every two months. Do you guys still sell those?\u003c/b>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/p/C5-9z0xrCd0/\">spicy crispy chicken wings\u003c/a> are definitely popular, and we also make spicy crispy \u003ca href=\"https://www.instagram.com/p/C5a6fWNr0cl/\">salmon\u003c/a>. We rotate our special every week, which is why it’s only served once in a while. My mother made these wings for me as a child, and they were my absolute favorite! I knew we had to put them on the menu.\u003c/p>\n\u003cp>\u003cb>Are there any challenges with making dim sum work at the farmers market? Do you have to change certain recipes to make it work?\u003c/b>\u003c/p>\n\u003cp>We had never worked at a farmers market before, so we learned how to adapt and improve along the way. In our 15 years of business, we have learned ways to operate more efficiently and effectively, especially in setting up our booth.\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>We have a commissary kitchen we work out of to prepare all of the dim sum. The dumplings are wrapped in the kitchen, and we steam everything fresh at the farmers markets.\u003c/p>\n\u003cp>\u003cb>What is your favorite memory from running this business? Was there a specific customer that stood out to you? \u003c/b>\u003c/p>\n\u003cp>It’s building relationships with my customers. So many regulars come every week and make my dim sum part of their weekly ritual. There have also been many regulars who moved away but make it a priority to stop by whenever they are visiting. Countless mothers ate my dim sum while pregnant, and I saw these babies grow up. Whenever a child wants my food for their birthday party, or if I cater a bar or bat mitzvah, quinceañera, holiday party or wedding, it feels so special to be included in their special day. Any time a first-time customer comes back after they try the dim sum to tell me how much they enjoyed it, it is one of my favorite things. The food industry is a labor of love, and it is incredibly gratifying to receive excellent feedback.\u003c/p>\n\u003cp>One rainy winter day when I first joined the Grand Lake Farmers Market, one of my regular customers, Jefferson, brought me a cup of tea because he saw me shivering in the cold. It was a small gesture, but it meant so much to me, and I still remember it over 10 years later.\u003c/p>\n\u003cfigure id=\"attachment_13956336\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg\" alt=\"A stack of scallion pancakes on a white plate.\" width=\"1920\" height=\"2379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-800x991.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1020x1264.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-768x952.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1240x1536.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1653x2048.jpg 1653w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A stack of crispy, savory scallion pancakes. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s really sweet!\u003c/b>\u003c/p>\n\u003cp>Yes, and during the wildfires, a customer named Linda gave me and my mother masks because she was concerned since we work outdoors. Knowing I am more than just a food vendor to these customers warms my heart. Being a part of this amazing community is such a special thing.\u003c/p>\n\u003cp>[People from] all walks of life enjoy my dim sum, from babies to their grandparents, people who have never had it or those with food sensitivities. We have vegetarian, vegan, gluten-free, seafood and meat options. There is something for everyone. Everyone loves dim sum!\u003c/p>\n\u003cp>\u003cb>What’s your favorite item on your menu? \u003c/b>\u003c/p>\n\u003cp>A VIP client of mine hired me to cater her mother’s birthday dinner. She had requested that I make something with black truffles. That is when the black truffle shrimp dumpling was born. It is my personal favorite dumpling and has also become a favorite for many regulars. It’s special how we add black truffle to the shrimp filling, and we also add black truffle to the top of the dumpling.\u003c/p>\n\u003cp>But the traditional shrimp dumpling might be [better] for you if you are a purist. Some would say the shrimp dumpling is how to tell if a dim sum house is good or not.\u003c/p>\n\u003cfigure id=\"attachment_13956334\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg\" alt=\"Two varieties of dim sum on a paper plate. One of them is topped with black truffle shavings.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tru Gourmet’s more modern, creative dim sum items include a shrimp dumpling that incorporates black truffles. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s the best thing about selling at the farmers market? \u003c/b>\u003c/p>\n\u003cp>I love working at the farmers market! It’s such a wonderful community. Most of my customers are regulars who come every week, rain or shine. I appreciate their support. Even during the beginning of COVID, regulars came every week. It was because of them that I was able to stay in business.\u003c/p>\n\u003cp>We have been in business for 15 years and hope for another 15 years to come.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://trugourmet.com/\">\u003ci>Tru Gourmet Dim Sum\u003c/i>\u003c/a>\u003ci> is open at the Grand Lake Farmers Market (746 Grand Ave., Oakland) on Saturdays from 9 a.m. to 2 p.m. \u003c/i>\u003ci>You can also find them at the Marin Farmers Market (3501 Civic Center Dr., San Rafael) on Sundays from 8 a.m. to 1 p.m., and at the California Avenue Farmers Market (400 California Ave., Palo Alto) on Sundays from 9 a.m. to 1 p.m.\u003c/i>\u003cbr>\n\u003cem>\u003cbr>\nNadege Mulamba is a senior at Oakland Technical High School enjoys listening to music, writing and baking in her free time. She is passionate about screenwriting and wants to major in film.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Tru Gourmet has been selling its pork buns and shrimp dumplings outdoors for more than 15 years.","status":"publish","parent":0,"modified":1713824467,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1561},"headData":{"title":"How Tru Gourmet Brought Dim Sum to Bay Area Farmers Markets | KQED","description":"Tru Gourmet has been selling its pork buns and shrimp dumplings outdoors for more than 15 years.","ogTitle":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","ogDescription":"","ogImgId":"","twTitle":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","twDescription":"","twImgId":"","socialTitle":"How Tru Gourmet Brought Dim Sum to Bay Area Farmers Markets %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","datePublished":"2024-04-23T15:01:53.000Z","dateModified":"2024-04-22T22:21:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprByline":"Nadege Mulamba","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956326/tru-gourmet-dim-sum-farmers-market-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Ever since I was five years old, one of my favorite traditions has been going to the Grand Lake Farmers Market with my dad every Saturday morning. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Nadege.headshot.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>The market has been open since 1998 near the shore of Lake Merritt in Oakland, and it’s the perfect place to find almost anything you can think of — organic produce, fresh flowers and hot meals cooked to order while you wait. When I came with my dad, we’d order fresh gaufres from the Belgian waffle vendor, then browse the ripe nectarines and strawberries that were in season. Sometimes, we’d get rotisserie chicken and potatoes for lunch from one of the food trucks.\u003c/p>\n\u003cp>I even tried dim sum for the first time. One Saturday we noticed a stand called \u003ca href=\"https://www.instagram.com/trugourmet\">Tru Gourmet\u003c/a> that sold all kinds of steamed dumplings and buns. We ordered dumplings and crispy chicken wings, which turned out to be our favorite. Then we found somewhere near the booth to eat it all standing up.\u003c/p>\n\u003cp>That was about 10 years ago. As it turns out, Tru Gourmet is still around, setting up its stand at the Grand Lake Farmers Market — and \u003ca href=\"http://trugourmet.com/locations/\">two other farmers markets around the Bay Area\u003c/a> — every week. When I visited their tent on a recent Saturday, the line was so long that it almost crossed in front of the vendor next door. Inside, the cooks were busy heating the dumplings in bamboo steamers. Everything smelled so good, it was hard to choose. When I finally bit into a savory scallion pancake and delighted in the softness of a juicy pork bun, I urged my dad to order seconds.\u003c/p>\n\u003cfigure id=\"attachment_13956337\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg\" alt='A display showing different kinds of dim sum available, all arranged in bamboo steamers. A sign on the table reads, \"Cash Only.\"' width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A display of the different kinds of dim sum available at Tru Gourmet’s Grand Lake Farmers Market stand on a recent Saturday. \u003ccite>(Nadege Mulamba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I realize now is that it isn’t very typical for dim sum to be sold at a farmers market — in fact, Tru Gourmet seems to be the only business doing it regularly here in the Bay Area. It made me curious: What made these chefs decide to set up their business outdoors instead of selling their dumplings inside a more traditional dim sum restaurant? And why doesn’t it seem like very many others are doing it?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I had the opportunity to interview the owner, Olivia Liu, who shared her story of how the business started.\u003c/p>\n\u003cp>\u003ci>The following interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>\u003cb>KQED: When did you start this business? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Olivia Liu\u003c/b>: Tru Gourmet started with my mom, Cathy Tsui, back in August 2008.\u003c/p>\n\u003cp>\u003cb>Wow, almost sixteen years! Why did you want to create dim sum at the farmers market? \u003c/b>\u003c/p>\n\u003cp>My mother and I had a weekly tradition of dining on dim sum and visiting our local farmers markets, which gave us the idea to combine those two and start a family business. Dim sum translates into “touch of the heart.” Our goal is to touch your heart with handcrafted dim sum made from our hearts. [At Tru Gourmet,] you will find traditional dumplings one might see at popular dim sum houses and modern-day creations that aim to expand one’s view of dim sum, like black truffle shrimp dumplings or spiny lobster dumplings. We also have vegan dumplings such as our kale dumpling and bok choy dumpling, and seasonal [specials] like our asparagus dumpling.\u003c/p>\n\u003cp>We are proud to source most of our produce from the farmers markets we attend.\u003c/p>\n\u003cp>\u003cb>Did you know of any other businesses that were selling dim sum at farmers markets at that time?\u003c/b>\u003c/p>\n\u003cp>Back in 2008, we could have been the only ones. We have never seen [any other] dim sum at any farmers market, but it is common in food festivals.\u003c/p>\n\u003cfigure id=\"attachment_13956335\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg\" alt=\"A young woman in a white chef's jacket serves dim sum to a guest at a fancy gala.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">True Gourmet’s Olivia Liu serves dim sum at an event at the Headlands Center for the Arts in Sausalito. \u003ccite>(Andria Lo, courtesy of Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>About 10 years ago, my dad and I actually had chicken wings at your Grand Lake market stand. They were so good, and I was sad that you only seemed to sell them once every two months. Do you guys still sell those?\u003c/b>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/p/C5-9z0xrCd0/\">spicy crispy chicken wings\u003c/a> are definitely popular, and we also make spicy crispy \u003ca href=\"https://www.instagram.com/p/C5a6fWNr0cl/\">salmon\u003c/a>. We rotate our special every week, which is why it’s only served once in a while. My mother made these wings for me as a child, and they were my absolute favorite! I knew we had to put them on the menu.\u003c/p>\n\u003cp>\u003cb>Are there any challenges with making dim sum work at the farmers market? Do you have to change certain recipes to make it work?\u003c/b>\u003c/p>\n\u003cp>We had never worked at a farmers market before, so we learned how to adapt and improve along the way. In our 15 years of business, we have learned ways to operate more efficiently and effectively, especially in setting up our booth.\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>We have a commissary kitchen we work out of to prepare all of the dim sum. The dumplings are wrapped in the kitchen, and we steam everything fresh at the farmers markets.\u003c/p>\n\u003cp>\u003cb>What is your favorite memory from running this business? Was there a specific customer that stood out to you? \u003c/b>\u003c/p>\n\u003cp>It’s building relationships with my customers. So many regulars come every week and make my dim sum part of their weekly ritual. There have also been many regulars who moved away but make it a priority to stop by whenever they are visiting. Countless mothers ate my dim sum while pregnant, and I saw these babies grow up. Whenever a child wants my food for their birthday party, or if I cater a bar or bat mitzvah, quinceañera, holiday party or wedding, it feels so special to be included in their special day. Any time a first-time customer comes back after they try the dim sum to tell me how much they enjoyed it, it is one of my favorite things. The food industry is a labor of love, and it is incredibly gratifying to receive excellent feedback.\u003c/p>\n\u003cp>One rainy winter day when I first joined the Grand Lake Farmers Market, one of my regular customers, Jefferson, brought me a cup of tea because he saw me shivering in the cold. It was a small gesture, but it meant so much to me, and I still remember it over 10 years later.\u003c/p>\n\u003cfigure id=\"attachment_13956336\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg\" alt=\"A stack of scallion pancakes on a white plate.\" width=\"1920\" height=\"2379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-800x991.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1020x1264.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-768x952.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1240x1536.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1653x2048.jpg 1653w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A stack of crispy, savory scallion pancakes. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s really sweet!\u003c/b>\u003c/p>\n\u003cp>Yes, and during the wildfires, a customer named Linda gave me and my mother masks because she was concerned since we work outdoors. Knowing I am more than just a food vendor to these customers warms my heart. Being a part of this amazing community is such a special thing.\u003c/p>\n\u003cp>[People from] all walks of life enjoy my dim sum, from babies to their grandparents, people who have never had it or those with food sensitivities. We have vegetarian, vegan, gluten-free, seafood and meat options. There is something for everyone. Everyone loves dim sum!\u003c/p>\n\u003cp>\u003cb>What’s your favorite item on your menu? \u003c/b>\u003c/p>\n\u003cp>A VIP client of mine hired me to cater her mother’s birthday dinner. She had requested that I make something with black truffles. That is when the black truffle shrimp dumpling was born. It is my personal favorite dumpling and has also become a favorite for many regulars. It’s special how we add black truffle to the shrimp filling, and we also add black truffle to the top of the dumpling.\u003c/p>\n\u003cp>But the traditional shrimp dumpling might be [better] for you if you are a purist. Some would say the shrimp dumpling is how to tell if a dim sum house is good or not.\u003c/p>\n\u003cfigure id=\"attachment_13956334\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg\" alt=\"Two varieties of dim sum on a paper plate. One of them is topped with black truffle shavings.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tru Gourmet’s more modern, creative dim sum items include a shrimp dumpling that incorporates black truffles. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s the best thing about selling at the farmers market? \u003c/b>\u003c/p>\n\u003cp>I love working at the farmers market! It’s such a wonderful community. Most of my customers are regulars who come every week, rain or shine. I appreciate their support. Even during the beginning of COVID, regulars came every week. It was because of them that I was able to stay in business.\u003c/p>\n\u003cp>We have been in business for 15 years and hope for another 15 years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://trugourmet.com/\">\u003ci>Tru Gourmet Dim Sum\u003c/i>\u003c/a>\u003ci> is open at the Grand Lake Farmers Market (746 Grand Ave., Oakland) on Saturdays from 9 a.m. to 2 p.m. \u003c/i>\u003ci>You can also find them at the Marin Farmers Market (3501 Civic Center Dr., San Rafael) on Sundays from 8 a.m. to 1 p.m., and at the California Avenue Farmers Market (400 California Ave., Palo Alto) on Sundays from 9 a.m. to 1 p.m.\u003c/i>\u003cbr>\n\u003cem>\u003cbr>\nNadege Mulamba is a senior at Oakland Technical High School enjoys listening to music, writing and baking in her free time. She is passionate about screenwriting and wants to major in film.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956326/tru-gourmet-dim-sum-farmers-market-oakland","authors":["byline_arts_13956326"],"categories":["arts_1","arts_12276"],"tags":["arts_21727","arts_22099","arts_10278","arts_1297","arts_1785","arts_1143","arts_4533"],"featImg":"arts_13956333","label":"source_arts_13956326"},"arts_13956575":{"type":"posts","id":"arts_13956575","meta":{"index":"posts_1591205157","site":"arts","id":"13956575","found":true},"guestAuthors":[],"slug":"sfmoma-workers-open-letter-palestinians-gaza-pacbi","title":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","publishDate":1713983603,"format":"standard","headTitle":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. [aside postid='arts_13955613,arts_13954119']\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n","blocks":[],"excerpt":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","status":"publish","parent":0,"modified":1714002413,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":642},"headData":{"title":"SFMOMA Workers Urge Museum to Support Palestinians in Letter | KQED","description":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"SFMOMA Workers Urge Museum to Support Palestinians in Letter %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","datePublished":"2024-04-24T18:33:23.000Z","dateModified":"2024-04-24T23:46:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956575","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955613,arts_13954119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","authors":["11387"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_10278","arts_10422","arts_8838","arts_1381"],"featImg":"arts_13956649","label":"arts"},"arts_13956373":{"type":"posts","id":"arts_13956373","meta":{"index":"posts_1591205157","site":"arts","id":"13956373","found":true},"guestAuthors":[],"slug":"outside-lands-lineup-2024-san-francisco","title":"Outside Lands 2024: Tyler, the Creator, The Killers and Sturgill Simpson Headline","publishDate":1713892535,"format":"standard","headTitle":"Outside Lands 2024: Tyler, the Creator, The Killers and Sturgill Simpson Headline | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> has announced the 2024 lineup for its annual music festival.\u003c/p>\n\u003cp>Topping the bill this year is Tyler, the Creator, the experimental rapper, singer and producer whose powerful stage presence overshadowed the actual headliners when he \u003ca href=\"https://www.kqed.org/arts/13905536/photos-an-electric-return-for-outside-lands-with-tyler-the-creator-and-more\">performed on a smaller Outside Lands stage\u003c/a> in 2021. Aughts rock mainstays The Killers and country singer-songwriter Sturgill Simpson join Tyler as co-headliners.\u003c/p>\n\u003cp>The festival, which draws hundreds of thousands of fans to San Francisco’s Golden Gate Park each August, notably has a larger country music presence than in years past. Hot off his feature on Beyoncé’s \u003cem>Cowboy Carter\u003c/em>, Post Malone will perform an all-country set. Other lineup highlights include art pop icon and fashion muse Grace Jones; disco revivalists Jungle; “Water” hitmaker Tyla; Sacramento-raised Grammy winner Victoria Monét; the Postal Service, patron saints of millennial sad boys and girls everywhere; house music producer Kaytranada; actor and electronic music producer Idris Elba and many more.\u003c/p>\n\u003cp>In addition to its musical, culinary and cannabis offerings, Outside Lands will bring back Dolores’, its queer-oriented, open-air dance club that debuted to great acclaim last year. Its SOMA stage, for electronic music, will also change from its previous tent setting to an open-air format.\u003c/p>\n\u003cp>Outside Lands takes place Aug. 9-11, and \u003ca href=\"https://outsidelands.frontgatetickets.com/\">three-day tickets\u003c/a> go on sale April 24 at 10 am.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>Tyler, The Creator\u003cbr>\nThe Killers\u003cbr>\nSturgill Simpson\u003cbr>\nPost Malone (Performing a Special Country Set)\u003cbr>\nThe Postal Service\u003cbr>\nGrace Jones\u003cbr>\nKAYTRANADA\u003cbr>\nJUNGLE\u003cbr>\nChris Lake\u003cbr>\nGryffin\u003cbr>\nSnoh Aalegra\u003cbr>\nYoung The Giant\u003cbr>\nScHoolboy Q\u003cbr>\nTeddy Swims\u003cbr>\nReneé Rapp\u003cbr>\nVictoria Monét\u003cbr>\nKnock2\u003cbr>\nSlowdive\u003cbr>\nKiller Mike\u003cbr>\nFLETCHER\u003cbr>\nTV Girl\u003cbr>\nTyla\u003cbr>\nChappell Roan\u003cbr>\nChannel Tres\u003cbr>\nCharley Crockett\u003cbr>\nMen I Trust\u003cbr>\nBen Howard\u003cbr>\nAmyl and The Sniffers\u003cbr>\nKevin Abstract\u003cbr>\nPaul Cauthen\u003cbr>\nThe Japanese House\u003cbr>\nRomy\u003cbr>\nThe Last Dinner Party\u003cbr>\nBADBADNOTGOOD\u003cbr>\nSTRFKR\u003cbr>\nReal Estate\u003cbr>\nK.Flay\u003cbr>\nCorinne Bailey Rae\u003cbr>\nSnakehips\u003cbr>\nAmen Dunes\u003cbr>\nRoosevelt\u003cbr>\nAllen Stone\u003cbr>\nMindchatter\u003cbr>\nDaði Freyr\u003cbr>\nRyan Beatty\u003cbr>\nLEISURE\u003cbr>\nElyanna\u003cbr>\nConfidence Man\u003cbr>\nKasablanca\u003cbr>\nVandelux\u003cbr>\nWisp\u003cbr>\nMedium Build\u003cbr>\nRocco\u003cbr>\nunderscores\u003cbr>\nDevault\u003cbr>\nChance Peña\u003cbr>\nMimi Webb\u003cbr>\nDaily Bread\u003cbr>\nBALTHVS\u003cbr>\nShaboozey\u003cbr>\nbilly woods\u003cbr>\nThe Lemon Twigs\u003cbr>\nTrueno\u003cbr>\nSons Of The East\u003cbr>\nCMAT\u003cbr>\nCimafunk\u003cbr>\nKatie Pruitt\u003cbr>\nAG Club\u003cbr>\nLady Wray\u003cbr>\nOdie Leigh\u003cbr>\nFrench Cassettes\u003cbr>\nOgi\u003cbr>\nMiLES.\u003cbr>\nValencia Grace\u003cbr>\nDan Spencer\u003cbr>\nLael Neale\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SOMA\u003c/strong>\u003cbr>\nAngrybaby\u003cbr>\nAnish Kumar\u003cbr>\nAYYBO\u003cbr>\nThe Blessed Madonna\u003cbr>\nBUNS\u003cbr>\nChuck Gunn\u003cbr>\nDARIUS\u003cbr>\nDusky\u003cbr>\nHoneyluv b2b Jaden Thompson\u003cbr>\nIdris Elba\u003cbr>\nJackie Hollander\u003cbr>\nJoe Kay b2b Jared Jackson\u003cbr>\nKaleena Zanders\u003cbr>\nMarsh\u003cbr>\nSeth Troxler\u003cbr>\nShiba San b2b CID\u003cbr>\nSIDEPIECE\u003cbr>\nSofia Kourtesis\u003cbr>\nTSHA\u003cbr>\nUncle Waffles\u003cbr>\nYulia Niko\u003c/p>\n\n","blocks":[],"excerpt":"Three-day tickets to the festival in Golden Gate Park go on sale April 24 at 10 a.m.","status":"publish","parent":0,"modified":1713892535,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":429},"headData":{"title":"Outside Lands 2024: Tyler, the Creator, The Killers and Sturgill Simpson Headline | KQED","description":"Three-day tickets to the festival in Golden Gate Park go on sale April 24 at 10 a.m.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Outside Lands 2024: Tyler, the Creator, The Killers and Sturgill Simpson Headline","datePublished":"2024-04-23T17:15:35.000Z","dateModified":"2024-04-23T17:15:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956373/outside-lands-lineup-2024-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> has announced the 2024 lineup for its annual music festival.\u003c/p>\n\u003cp>Topping the bill this year is Tyler, the Creator, the experimental rapper, singer and producer whose powerful stage presence overshadowed the actual headliners when he \u003ca href=\"https://www.kqed.org/arts/13905536/photos-an-electric-return-for-outside-lands-with-tyler-the-creator-and-more\">performed on a smaller Outside Lands stage\u003c/a> in 2021. Aughts rock mainstays The Killers and country singer-songwriter Sturgill Simpson join Tyler as co-headliners.\u003c/p>\n\u003cp>The festival, which draws hundreds of thousands of fans to San Francisco’s Golden Gate Park each August, notably has a larger country music presence than in years past. Hot off his feature on Beyoncé’s \u003cem>Cowboy Carter\u003c/em>, Post Malone will perform an all-country set. Other lineup highlights include art pop icon and fashion muse Grace Jones; disco revivalists Jungle; “Water” hitmaker Tyla; Sacramento-raised Grammy winner Victoria Monét; the Postal Service, patron saints of millennial sad boys and girls everywhere; house music producer Kaytranada; actor and electronic music producer Idris Elba and many more.\u003c/p>\n\u003cp>In addition to its musical, culinary and cannabis offerings, Outside Lands will bring back Dolores’, its queer-oriented, open-air dance club that debuted to great acclaim last year. Its SOMA stage, for electronic music, will also change from its previous tent setting to an open-air format.\u003c/p>\n\u003cp>Outside Lands takes place Aug. 9-11, and \u003ca href=\"https://outsidelands.frontgatetickets.com/\">three-day tickets\u003c/a> go on sale April 24 at 10 am.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>Tyler, The Creator\u003cbr>\nThe Killers\u003cbr>\nSturgill Simpson\u003cbr>\nPost Malone (Performing a Special Country Set)\u003cbr>\nThe Postal Service\u003cbr>\nGrace Jones\u003cbr>\nKAYTRANADA\u003cbr>\nJUNGLE\u003cbr>\nChris Lake\u003cbr>\nGryffin\u003cbr>\nSnoh Aalegra\u003cbr>\nYoung The Giant\u003cbr>\nScHoolboy Q\u003cbr>\nTeddy Swims\u003cbr>\nReneé Rapp\u003cbr>\nVictoria Monét\u003cbr>\nKnock2\u003cbr>\nSlowdive\u003cbr>\nKiller Mike\u003cbr>\nFLETCHER\u003cbr>\nTV Girl\u003cbr>\nTyla\u003cbr>\nChappell Roan\u003cbr>\nChannel Tres\u003cbr>\nCharley Crockett\u003cbr>\nMen I Trust\u003cbr>\nBen Howard\u003cbr>\nAmyl and The Sniffers\u003cbr>\nKevin Abstract\u003cbr>\nPaul Cauthen\u003cbr>\nThe Japanese House\u003cbr>\nRomy\u003cbr>\nThe Last Dinner Party\u003cbr>\nBADBADNOTGOOD\u003cbr>\nSTRFKR\u003cbr>\nReal Estate\u003cbr>\nK.Flay\u003cbr>\nCorinne Bailey Rae\u003cbr>\nSnakehips\u003cbr>\nAmen Dunes\u003cbr>\nRoosevelt\u003cbr>\nAllen Stone\u003cbr>\nMindchatter\u003cbr>\nDaði Freyr\u003cbr>\nRyan Beatty\u003cbr>\nLEISURE\u003cbr>\nElyanna\u003cbr>\nConfidence Man\u003cbr>\nKasablanca\u003cbr>\nVandelux\u003cbr>\nWisp\u003cbr>\nMedium Build\u003cbr>\nRocco\u003cbr>\nunderscores\u003cbr>\nDevault\u003cbr>\nChance Peña\u003cbr>\nMimi Webb\u003cbr>\nDaily Bread\u003cbr>\nBALTHVS\u003cbr>\nShaboozey\u003cbr>\nbilly woods\u003cbr>\nThe Lemon Twigs\u003cbr>\nTrueno\u003cbr>\nSons Of The East\u003cbr>\nCMAT\u003cbr>\nCimafunk\u003cbr>\nKatie Pruitt\u003cbr>\nAG Club\u003cbr>\nLady Wray\u003cbr>\nOdie Leigh\u003cbr>\nFrench Cassettes\u003cbr>\nOgi\u003cbr>\nMiLES.\u003cbr>\nValencia Grace\u003cbr>\nDan Spencer\u003cbr>\nLael Neale\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SOMA\u003c/strong>\u003cbr>\nAngrybaby\u003cbr>\nAnish Kumar\u003cbr>\nAYYBO\u003cbr>\nThe Blessed Madonna\u003cbr>\nBUNS\u003cbr>\nChuck Gunn\u003cbr>\nDARIUS\u003cbr>\nDusky\u003cbr>\nHoneyluv b2b Jaden Thompson\u003cbr>\nIdris Elba\u003cbr>\nJackie Hollander\u003cbr>\nJoe Kay b2b Jared Jackson\u003cbr>\nKaleena Zanders\u003cbr>\nMarsh\u003cbr>\nSeth Troxler\u003cbr>\nShiba San b2b CID\u003cbr>\nSIDEPIECE\u003cbr>\nSofia Kourtesis\u003cbr>\nTSHA\u003cbr>\nUncle Waffles\u003cbr>\nYulia Niko\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956373/outside-lands-lineup-2024-san-francisco","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_10278","arts_22068","arts_1739","arts_1146","arts_585"],"featImg":"arts_13905531","label":"arts_140"},"arts_13956359":{"type":"posts","id":"arts_13956359","meta":{"index":"posts_1591205157","site":"arts","id":"13956359","found":true},"guestAuthors":[],"slug":"rainin-grants-ayodele-nzinga-antoine-hunter-adrian-burrell-tnt-traysikel","title":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each","publishDate":1713982102,"format":"standard","headTitle":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burrell is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n","blocks":[],"excerpt":"Three artists and one trio will receive the unrestricted grants, which one calls 'a milestone blessing.'","status":"publish","parent":0,"modified":1713982102,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":847},"headData":{"title":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each | KQED","description":"Three artists and one trio will receive the unrestricted grants, which one calls 'a milestone blessing.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each","datePublished":"2024-04-24T18:08:22.000Z","dateModified":"2024-04-24T18:08:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956359","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956359/rainin-grants-ayodele-nzinga-antoine-hunter-adrian-burrell-tnt-traysikel","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burrell is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956359/rainin-grants-ayodele-nzinga-antoine-hunter-adrian-burrell-tnt-traysikel","authors":["11491"],"categories":["arts_1","arts_73","arts_966","arts_74","arts_967","arts_70"],"tags":["arts_22106","arts_7624","arts_10278","arts_3590","arts_22105"],"featImg":"arts_13956434","label":"arts"},"arts_13956365":{"type":"posts","id":"arts_13956365","meta":{"index":"posts_1591205157","site":"arts","id":"13956365","found":true},"guestAuthors":[],"slug":"larry-june-stanford-blackfest-free","title":"Larry June to Headline Stanford's Free Blackfest","publishDate":1713897523,"format":"standard","headTitle":"Larry June to Headline Stanford’s Free Blackfest | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>San Francisco rapper Larry June will headline Stanford University’s \u003ca href=\"https://live.stanford.edu/events/2024-frost/blackfest-2024\" target=\"_blank\" rel=\"noopener\">Blackfest\u003c/a>, a completely free annual event organized by students and open to the general public, on May 4 at the university’s Frost Amphitheater.\u003c/p>\n\u003cp>In addition to the orange juice–drinking game spitter from the City, the afternoon features performances by Oakland’s youth troupe of MCs \u003ca href=\"https://proud2beblack.org/new-page\" target=\"_blank\" rel=\"noopener\">Young Gifted and Black\u003c/a>, along with a set from Washington D.C.’s up-and-coming, high-energy MC \u003ca href=\"https://www.instagram.com/redveil/?hl=en\" target=\"_blank\" rel=\"noopener\">redveil\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956368 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-800x800.jpg\" alt=\"Attendees of Stanford's Blackfest 2022 pose for a photo. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees of Stanford’s Blackfest 2022 pose for a photo. \u003ccite>(Vanessa Onuoha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presented by Stanford’s \u003ca href=\"https://bcsc.stanford.edu/get-involved/black-volunteer-student-organizations-bvso/performing-arts-organizations\" target=\"_blank\" rel=\"noopener\">Black Family Gathering Committee\u003c/a> and Stanford Live, the event is hosted by \u003ca href=\"https://www.instagram.com/shaydiddy/?hl=en\" target=\"_blank\" rel=\"noopener\">KMEL’s Shay Diddy\u003c/a> and will showcase a full Divine Nine step show.\u003c/p>\n\u003cp>Event organizers say their goal in 2024 is similar to previous years: showcase top-tier talent and cultivate community, both on campus and throughout the Bay Area. But this time around, they’re putting extra emphasis on the history of the event, and creating an installation to teach others about its roots.\u003c/p>\n\u003cp>The history of \u003ca href=\"https://stanfordmag.org/contents/we-are-family\" target=\"_blank\" rel=\"noopener\">Blackfest\u003c/a> dates back to the early ’70s, when separate groups of Black students living on opposite sides of campus decided to come together for one day. Led by the Black Community Services Center and the Black Student Union, students organized a picnic-style meet-up at Roble Field. They played sports and card games, passed along family recipes and made meals. Most importantly, they got to know one another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13956367\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Over the years, the event evolved. At the turn of the millennium, the first live performances were incorporated. Blackfest has since grown from a picnic to a one-day festival — with some of the biggest names in music rocking the stage, such as Kendrick Lamar, Big Sean, 2 Chainz, Lil Yachty, Metro Boomin, E-40 and \u003ca href=\"https://arts.stanford.edu/rapper-future-performs-at-stanfords-blackfest/\" target=\"_blank\" rel=\"noopener\">Future\u003c/a>.\u003c/p>\n\u003cp>“They are bringing globally and nationally recognized talent to the Bay Area for free,” says Kamel Jacot-Bell, co-founder of Ankh Marketing, during a conference call.\u003c/p>\n\u003cp>“We’re choosing people who feel relevant to the community,” adds Catherine Harbour.\u003c/p>\n\u003cp>A 21 year-old senior from East Brunswick, New Jersey, Harbour is the co-president of the Black Family Gathering Committee and the lead organizer of Blackfest. She notes that the aforementioned artists performed at Blackfest before they were superstars.\u003c/p>\n\u003cp>“A lot of those names were chosen when they were on the way up,” says Harbour, adding that their music speaks to the audience the event organizers are aiming for. “We’re looking for talent that will bring people together.”\u003c/p>\n\u003cfigure id=\"attachment_13956366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-800x1212.jpg\" alt=\"A few flicks from Stanford's Blackfest in 1979.\" width=\"800\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-800x1212.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-1020x1545.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-768x1163.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-1014x1536.jpg 1014w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-1352x2048.jpg 1352w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-1920x2908.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-scaled.jpg 1690w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A few images from Stanford’s Blackfest in 1979. \u003ccite>(Richard Craven)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ever evolving, Blackfest has grown since the pandemic. It’s now located at \u003ca href=\"https://live.stanford.edu/venues/frost-amphitheater\" target=\"_blank\" rel=\"noopener\">Frost Amphitheater\u003c/a>, which can hold up to 8,000 people. “We now have a full professional-grade concert happening each year,” says Harbour. “It’s incredible to have those resources given to us by the school.”\u003c/p>\n\u003cp>Those resources help achieve the goal of an awesome experience for Stanford students and the broader Bay Area, says Harbour. She also wants the entire Bay Area Black community to be aware of people at Stanford who are working hard to put resources toward the celebration of Black culture and community.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4DQ7EvevkWw\u003c/p>\n\u003cp>And it’s been that way for decades.\u003c/p>\n\u003cp>“For us to be throwing an event as large-scale as it is today,” says Harbour, “it took so many people before us to mobilize — people with even less resources, less funding and less name recognition.”\u003c/p>\n\u003cp>Preserving Black culture is an often difficult task, Harbour adds, but it’s important work — not just for today, but for generations to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Larry June headlines Stanford’s Blackfest on Saturday, May 4, at 3:30 p.m. For tickets and more information, visit the \u003ca href=\"https://live.stanford.edu/events/2024-frost/blackfest-2024/\" target=\"_blank\" rel=\"noopener\">Stanford Live site\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The annual free celebration of Black culture takes place May 4 at Frost Amphitheater.","status":"publish","parent":0,"modified":1713898188,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":670},"headData":{"title":"Larry June to Headline Stanford's Free Blackfest | KQED","description":"The annual free celebration of Black culture takes place May 4 at Frost Amphitheater.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Larry June to Headline Stanford's Free Blackfest","datePublished":"2024-04-23T18:38:43.000Z","dateModified":"2024-04-23T18:49:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956365/larry-june-stanford-blackfest-free","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco rapper Larry June will headline Stanford University’s \u003ca href=\"https://live.stanford.edu/events/2024-frost/blackfest-2024\" target=\"_blank\" rel=\"noopener\">Blackfest\u003c/a>, a completely free annual event organized by students and open to the general public, on May 4 at the university’s Frost Amphitheater.\u003c/p>\n\u003cp>In addition to the orange juice–drinking game spitter from the City, the afternoon features performances by Oakland’s youth troupe of MCs \u003ca href=\"https://proud2beblack.org/new-page\" target=\"_blank\" rel=\"noopener\">Young Gifted and Black\u003c/a>, along with a set from Washington D.C.’s up-and-coming, high-energy MC \u003ca href=\"https://www.instagram.com/redveil/?hl=en\" target=\"_blank\" rel=\"noopener\">redveil\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956368 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-800x800.jpg\" alt=\"Attendees of Stanford's Blackfest 2022 pose for a photo. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_7675-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees of Stanford’s Blackfest 2022 pose for a photo. \u003ccite>(Vanessa Onuoha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presented by Stanford’s \u003ca href=\"https://bcsc.stanford.edu/get-involved/black-volunteer-student-organizations-bvso/performing-arts-organizations\" target=\"_blank\" rel=\"noopener\">Black Family Gathering Committee\u003c/a> and Stanford Live, the event is hosted by \u003ca href=\"https://www.instagram.com/shaydiddy/?hl=en\" target=\"_blank\" rel=\"noopener\">KMEL’s Shay Diddy\u003c/a> and will showcase a full Divine Nine step show.\u003c/p>\n\u003cp>Event organizers say their goal in 2024 is similar to previous years: showcase top-tier talent and cultivate community, both on campus and throughout the Bay Area. But this time around, they’re putting extra emphasis on the history of the event, and creating an installation to teach others about its roots.\u003c/p>\n\u003cp>The history of \u003ca href=\"https://stanfordmag.org/contents/we-are-family\" target=\"_blank\" rel=\"noopener\">Blackfest\u003c/a> dates back to the early ’70s, when separate groups of Black students living on opposite sides of campus decided to come together for one day. Led by the Black Community Services Center and the Black Student Union, students organized a picnic-style meet-up at Roble Field. They played sports and card games, passed along family recipes and made meals. Most importantly, they got to know one another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13956367\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Black-Family-Picnic-early-70s-1-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Over the years, the event evolved. At the turn of the millennium, the first live performances were incorporated. Blackfest has since grown from a picnic to a one-day festival — with some of the biggest names in music rocking the stage, such as Kendrick Lamar, Big Sean, 2 Chainz, Lil Yachty, Metro Boomin, E-40 and \u003ca href=\"https://arts.stanford.edu/rapper-future-performs-at-stanfords-blackfest/\" target=\"_blank\" rel=\"noopener\">Future\u003c/a>.\u003c/p>\n\u003cp>“They are bringing globally and nationally recognized talent to the Bay Area for free,” says Kamel Jacot-Bell, co-founder of Ankh Marketing, during a conference call.\u003c/p>\n\u003cp>“We’re choosing people who feel relevant to the community,” adds Catherine Harbour.\u003c/p>\n\u003cp>A 21 year-old senior from East Brunswick, New Jersey, Harbour is the co-president of the Black Family Gathering Committee and the lead organizer of Blackfest. She notes that the aforementioned artists performed at Blackfest before they were superstars.\u003c/p>\n\u003cp>“A lot of those names were chosen when they were on the way up,” says Harbour, adding that their music speaks to the audience the event organizers are aiming for. “We’re looking for talent that will bring people together.”\u003c/p>\n\u003cfigure id=\"attachment_13956366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-800x1212.jpg\" alt=\"A few flicks from Stanford's Blackfest in 1979.\" width=\"800\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-800x1212.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-1020x1545.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-768x1163.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-1014x1536.jpg 1014w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-1352x2048.jpg 1352w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-1920x2908.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Hanging-out-eating-on-Roble-Field-at-Black-Family-Picnic-1979-scaled.jpg 1690w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A few images from Stanford’s Blackfest in 1979. \u003ccite>(Richard Craven)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ever evolving, Blackfest has grown since the pandemic. It’s now located at \u003ca href=\"https://live.stanford.edu/venues/frost-amphitheater\" target=\"_blank\" rel=\"noopener\">Frost Amphitheater\u003c/a>, which can hold up to 8,000 people. “We now have a full professional-grade concert happening each year,” says Harbour. “It’s incredible to have those resources given to us by the school.”\u003c/p>\n\u003cp>Those resources help achieve the goal of an awesome experience for Stanford students and the broader Bay Area, says Harbour. She also wants the entire Bay Area Black community to be aware of people at Stanford who are working hard to put resources toward the celebration of Black culture and community.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4DQ7EvevkWw'\n title='//www.youtube.com/embed/4DQ7EvevkWw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And it’s been that way for decades.\u003c/p>\n\u003cp>“For us to be throwing an event as large-scale as it is today,” says Harbour, “it took so many people before us to mobilize — people with even less resources, less funding and less name recognition.”\u003c/p>\n\u003cp>Preserving Black culture is an often difficult task, Harbour adds, but it’s important work — not just for today, but for generations to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Larry June headlines Stanford’s Blackfest on Saturday, May 4, at 3:30 p.m. For tickets and more information, visit the \u003ca href=\"https://live.stanford.edu/events/2024-frost/blackfest-2024/\" target=\"_blank\" rel=\"noopener\">Stanford Live site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956365/larry-june-stanford-blackfest-free","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_10278","arts_831","arts_9337","arts_1315","arts_2309","arts_585"],"featImg":"arts_13929276","label":"arts_140"},"arts_13956128":{"type":"posts","id":"arts_13956128","meta":{"index":"posts_1591205157","site":"arts","id":"13956128","found":true},"guestAuthors":[],"slug":"best-mysteries-and-thriller-novels-spring-2024","title":"5 New Mysteries and Thrillers for Your Nightstand This Spring","publishDate":1713390986,"format":"standard","headTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Welcome back, mystery and thriller devotees! These books will take you from murder in present-day Texas to cryptography in Cold War Berlin to an online community that might hold the solution to a missing-person case.\u003c/p>\n\u003cp>Happy reading!\u003c/p>\n\u003ch3>‘Listen for the Lie’ by Amy Tintera\u003c/h3>\n\u003cfigure id=\"attachment_13956153\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png\" alt=\"A red book cover illustrated with a winding aux cord.\" width=\"834\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-800x1163.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-768x1116.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Listen for the Lie’ by Amy Tintera. \u003ccite>(Celadon Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Savannah Harper, the sweetheart of Plumpton, Texas, died from blows to her head. A few hours later, her best friend forever, Lucy Chase, was found wandering the town streets covered in blood. While Lucy was never formally charged with the murder, the community convicted her lock, stock and a full plate of barbecue. Five years later, Lucy has come home just as true-crime podcaster Ben Owens arrives to produce an episode of his show, \u003cem>Listen for the Lie.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13956050']As Ben encourages the tetchy, secretive Lucy to share her side of the story with him, she relaxes beneath his sunny, handsome gaze and starts to look at the truth. Unfortunately, truth doesn’t matter much to the residents of Plumpton, who long ago made up their minds about a young woman whose persona chafes against their ideas of femininity. Fortunately, by the time you meet the Plumptonites, you’ll have been mesmerized by Lucy’s hilarious, self-deprecating first-person narration. “It’s probably unfair to say that a podcast ruined my life,” she tells readers, and then, as she talks about making dinner during which she’ll break up with her clueless boyfriend: “Let this be a lesson to all the men out there who can’t handle conflict — man up and dump your girlfriend, or you might end up living with a suspected murder indefinitely.”\u003c/p>\n\u003cp>Podcast episodes interspersed between Lucy’s chapters form a clever way for Tintera (already a bestselling YA author; this is her debut for adults) to draw out the suspense. Revealing too much about the other characters might ruin that cleverness, but it’s important to note that even when the story has ended and the murderer found, there are secrets within secrets, the kind that women have long used to protect each other.\u003c/p>\n\u003ch3>‘Where You End’ by Abbott Kahler\u003c/h3>\n\u003cfigure id=\"attachment_13956154\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png\" alt=\"A book cover illustrated with winding bare tree branches and two rabbit masks.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Where You End’ by Abbott Kahler. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abbott Kahler’s debut centers on a young woman named Katherine “Kat” Bird, who has a near-death experience after her car collides with a deer, and wakes to near-total amnesia. She remembers her twin sister, Jude, who tries to fill in all of the blanks in Kat’s memory, but as Kat slowly recovers, she realizes Jude’s recounting of events contradict her own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Did the sisters have an idyllic childhood, or were they raised in a cult? If the latter is true, why would Jude be trying to pretend it never happened? Kahler (who has written acclaimed nonfiction as Karen Abbott) constructs a thriller so perfectly paced that you actually will not be able to put it down. You’ll be longing at each step to see how much Kat remembers and how much Jude complicates the memories. Each clue (there are few pictures of the sisters together, for example) has a flip side, a structural technique that works particularly well since the book is set in 1970s Philadelphia, with all of that city’s grittiness, community, and culture.\u003c/p>\n\u003cp>Kahler based her novel on the real-life story of Alex and Marcus Lewis, 18-year-old British identical twins. In 1982, Alex awoke from a coma following a motorcycle accident and remembered nothing except his brother’s name and face; Marcus decided to use the opportunity to invent new lives for them both. Kahler expands on their situation by going deeper into the effects of trauma for women and girls, making \u003cem>Where You End\u003c/em> incredibly relevant, right up to the truly shocking ending.\u003c/p>\n\u003ch3>‘The Night of the Storm’ by Nishita Parekh\u003c/h3>\n\u003cfigure id=\"attachment_13956156\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png\" alt=\"A book cover depicting a large house surrounded by water with a storm raging overhead.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘The Night of the Storm’ by Nishita Parekh. \u003ccite>(Dutton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Answer to a question you didn’t ask: In the UK, the board game Clue is known as Cluedo, a portmanteau word for “clue” plus “ludo,” the Latin for “I play.” In Nishita Parekh’s debut, a locked-room mystery that toys with everyone’s memories of playing Clue, readers may want to keep that active verb in mind. Set in Houston among a group of upperclass suburban Desi friends, \u003cem>The Night of the Storm\u003c/em> puts family drama above anything resembling, say, \u003cem>Cape Fear\u003c/em>-style hijinks — but the word “storm” in the title can mean so many things.\u003c/p>\n\u003cp>[aside postid='arts_13955903']Protagonist Jia Shah, single mom to Ishaan, decides they’ll both shelter from Hurricane Harvey at her sister Seema’s large home in Sugar Land. Seema’s husband Vipul and some of his relatives make things more complicated for Jia, through both their busy presence and because Jia and Vipul have some sexual tension going on; one of the things that makes this book fascinating is the look at a second-generation immigrant family enjoying their new country while also feeling the pull of hereditary expectations.\u003c/p>\n\u003cp>If you’re looking for a thriller — and this book is labeled one — you’ve come to the wrong place. \u003cem>The Night of the Storm\u003c/em> resembles nothing so much as a Golden Age mystery, and if you appreciate those, you’ve come to the right place. Parekh has clearly read her Christie, Marsh, and Allingham; she also clearly relishes those authors and their attention to cohesion and convention. Come on in and shelter from this \u003cem>Storm\u003c/em> with a truly unreliable cast of characters.\u003c/p>\n\u003ch3>‘Rabbit Hole’ by Kate Brody\u003c/h3>\n\u003cfigure id=\"attachment_13956157\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png\" alt=\"A book cover depicting a woman's face partially obscured by a finger print. \" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Rabbit Hole’ by Kate Brody. \u003ccite>(Soho Crime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade ago, Teddy Angstrom’s older sister Angie disappeared at age 18. When their father chooses suicide on the anniversary of Angie’s death, the now 26-year-old Teddy leaves the private school in Maine where she teaches English for home to sort out family matters with her grieving mother. Teddy discovers Mark Angstrom had grown obsessed with Reddit boards about true crime, some of them specifically about Angie’s case.\u003c/p>\n\u003cp>[aside postid='arts_13955214']Her initial look at the discussions soon turns into an obsession equaling her father’s, one that will pull her into the orbit of 19-year-old Mickey, a local college student with multiple tattoos and perhaps multiple motives for the assistance she gives Teddy. The weird friendship these women create reflects the darkness into which Teddy descends, continuing her addiction to the internet as she develops an addiction to alcohol, and accidentally outing herself as Angie’s sister to the various members of the Reddit boards.\u003c/p>\n\u003cp>Brody wisely builds the suspense around Teddy’s dissolution and paranoia, rather than focusing on the details of Angie’s fate, creating an atmosphere so suffocating and panicky that readers will feel the effects of loss, grief, and confusion as surely as if they were inside Teddy’s very smart and once better-adjusted mind. Teddy’s longing not just for her sister’s survival but for their ability to share life as 20-somethings marks her more indelibly than Mickey’s body ink.\u003c/p>\n\u003ch3>‘The Berlin Letters’ by Katherine Reay\u003c/h3>\n\u003cfigure id=\"attachment_13956158\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png\" alt=\"A book cover depicting a woman dressed in conservative 1980s-era clothing stands, arms folded in front of a small yellow car and a wall of graffiti.\" width=\"820\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-768x1135.png 768w\" sizes=\"(max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘The Berlin Letters’ by Katherine Reay. \u003ccite>(Harper Muse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brilliant cryptographer Luisa Voekler, whose talent was nurtured by her grandfather’s frequent code-based scavenger hunts, wants to move up in the CIA, but finds her career sidelined in the late 1980s as she translates World War II documents. One day she recognizes a tiny symbol that will lead her down a dangerous path. Her discovery involves her father, Haris, who remains in the East Berlin his family left in 1961 as the East German government put up a wall dividing the city.\u003c/p>\n\u003cp>[aside postid='arts_13955156']Reay has written a number of novels based on Brontë and Austen characters, as well as a couple of lighthearted looks at women’s friendships in Illinois, but in 2021 she turned to darker territory, setting books about spycraft in London, Moscow — and now Berlin and Washington, D.C. The cover of \u003cem>The Berlin Letters\u003c/em> announces both its relatively recent time period, with the figure of a young woman dressed in contemporary clothing, yet also nods to the singularity of modern Berlin, with a backdrop of the Wall covered in graffiti and the trunk of an iconic East German Trabant or “Trabi” auto (known for being constructed from lightweight resin).\u003c/p>\n\u003cp>The author knows East and West Berlin inside out, discussing details like the houses on Bernauer Strasse that allowed inhabitants, for a time, to easily defect simply by walking out of their front doors. However, those details never overwhelm a fast-paced story told by father and daughter from their different vantage points, as Luisa learns the truth of her past, and both stories reach the shocking, history-making night when The Berlin Wall fell on Nov. 9, 1989.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003c/em>\u003ca href=\"https://twitter.com/thebookmaven\">\u003cem>@TheBookMaven\u003c/em>\u003c/a>\u003cem> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+new+mysteries+and+thrillers+for+your+nightstand+this+spring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"These thrilling new books will take you from murder in present-day Texas to cryptography in Cold War Berlin.","status":"publish","parent":0,"modified":1713390986,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1583},"headData":{"title":"Best New Mystery and Thriller Novels for Spring 2024 | KQED","description":"These thrilling new books will take you from murder in present-day Texas to cryptography in Cold War Berlin.","ogTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring","ogDescription":"","ogImgId":"","twTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring","twDescription":"","twImgId":"","socialTitle":"Best New Mystery and Thriller Novels for Spring 2024%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"5 New Mysteries and Thrillers for Your Nightstand This Spring","datePublished":"2024-04-17T21:56:26.000Z","dateModified":"2024-04-17T21:56:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Bethanne Patrick","nprImageAgency":"NPR","nprStoryId":"1239716585","nprApiLink":"http://api.npr.org/query?id=1239716585&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/17/1239716585/5-new-mysteries-and-thrillers-spring-2024-reading-list-recommendations?ft=nprml&f=1239716585","nprRetrievedStory":"1","nprPubDate":"Wed, 17 Apr 2024 11:29:00 -0400","nprStoryDate":"Wed, 17 Apr 2024 10:49:00 -0400","nprLastModifiedDate":"Wed, 17 Apr 2024 11:29:14 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956128/best-mysteries-and-thriller-novels-spring-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome back, mystery and thriller devotees! These books will take you from murder in present-day Texas to cryptography in Cold War Berlin to an online community that might hold the solution to a missing-person case.\u003c/p>\n\u003cp>Happy reading!\u003c/p>\n\u003ch3>‘Listen for the Lie’ by Amy Tintera\u003c/h3>\n\u003cfigure id=\"attachment_13956153\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png\" alt=\"A red book cover illustrated with a winding aux cord.\" width=\"834\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-800x1163.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-768x1116.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Listen for the Lie’ by Amy Tintera. \u003ccite>(Celadon Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Savannah Harper, the sweetheart of Plumpton, Texas, died from blows to her head. A few hours later, her best friend forever, Lucy Chase, was found wandering the town streets covered in blood. While Lucy was never formally charged with the murder, the community convicted her lock, stock and a full plate of barbecue. Five years later, Lucy has come home just as true-crime podcaster Ben Owens arrives to produce an episode of his show, \u003cem>Listen for the Lie.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956050","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As Ben encourages the tetchy, secretive Lucy to share her side of the story with him, she relaxes beneath his sunny, handsome gaze and starts to look at the truth. Unfortunately, truth doesn’t matter much to the residents of Plumpton, who long ago made up their minds about a young woman whose persona chafes against their ideas of femininity. Fortunately, by the time you meet the Plumptonites, you’ll have been mesmerized by Lucy’s hilarious, self-deprecating first-person narration. “It’s probably unfair to say that a podcast ruined my life,” she tells readers, and then, as she talks about making dinner during which she’ll break up with her clueless boyfriend: “Let this be a lesson to all the men out there who can’t handle conflict — man up and dump your girlfriend, or you might end up living with a suspected murder indefinitely.”\u003c/p>\n\u003cp>Podcast episodes interspersed between Lucy’s chapters form a clever way for Tintera (already a bestselling YA author; this is her debut for adults) to draw out the suspense. Revealing too much about the other characters might ruin that cleverness, but it’s important to note that even when the story has ended and the murderer found, there are secrets within secrets, the kind that women have long used to protect each other.\u003c/p>\n\u003ch3>‘Where You End’ by Abbott Kahler\u003c/h3>\n\u003cfigure id=\"attachment_13956154\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png\" alt=\"A book cover illustrated with winding bare tree branches and two rabbit masks.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Where You End’ by Abbott Kahler. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abbott Kahler’s debut centers on a young woman named Katherine “Kat” Bird, who has a near-death experience after her car collides with a deer, and wakes to near-total amnesia. She remembers her twin sister, Jude, who tries to fill in all of the blanks in Kat’s memory, but as Kat slowly recovers, she realizes Jude’s recounting of events contradict her own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Did the sisters have an idyllic childhood, or were they raised in a cult? If the latter is true, why would Jude be trying to pretend it never happened? Kahler (who has written acclaimed nonfiction as Karen Abbott) constructs a thriller so perfectly paced that you actually will not be able to put it down. You’ll be longing at each step to see how much Kat remembers and how much Jude complicates the memories. Each clue (there are few pictures of the sisters together, for example) has a flip side, a structural technique that works particularly well since the book is set in 1970s Philadelphia, with all of that city’s grittiness, community, and culture.\u003c/p>\n\u003cp>Kahler based her novel on the real-life story of Alex and Marcus Lewis, 18-year-old British identical twins. In 1982, Alex awoke from a coma following a motorcycle accident and remembered nothing except his brother’s name and face; Marcus decided to use the opportunity to invent new lives for them both. Kahler expands on their situation by going deeper into the effects of trauma for women and girls, making \u003cem>Where You End\u003c/em> incredibly relevant, right up to the truly shocking ending.\u003c/p>\n\u003ch3>‘The Night of the Storm’ by Nishita Parekh\u003c/h3>\n\u003cfigure id=\"attachment_13956156\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png\" alt=\"A book cover depicting a large house surrounded by water with a storm raging overhead.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘The Night of the Storm’ by Nishita Parekh. \u003ccite>(Dutton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Answer to a question you didn’t ask: In the UK, the board game Clue is known as Cluedo, a portmanteau word for “clue” plus “ludo,” the Latin for “I play.” In Nishita Parekh’s debut, a locked-room mystery that toys with everyone’s memories of playing Clue, readers may want to keep that active verb in mind. Set in Houston among a group of upperclass suburban Desi friends, \u003cem>The Night of the Storm\u003c/em> puts family drama above anything resembling, say, \u003cem>Cape Fear\u003c/em>-style hijinks — but the word “storm” in the title can mean so many things.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955903","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Protagonist Jia Shah, single mom to Ishaan, decides they’ll both shelter from Hurricane Harvey at her sister Seema’s large home in Sugar Land. Seema’s husband Vipul and some of his relatives make things more complicated for Jia, through both their busy presence and because Jia and Vipul have some sexual tension going on; one of the things that makes this book fascinating is the look at a second-generation immigrant family enjoying their new country while also feeling the pull of hereditary expectations.\u003c/p>\n\u003cp>If you’re looking for a thriller — and this book is labeled one — you’ve come to the wrong place. \u003cem>The Night of the Storm\u003c/em> resembles nothing so much as a Golden Age mystery, and if you appreciate those, you’ve come to the right place. Parekh has clearly read her Christie, Marsh, and Allingham; she also clearly relishes those authors and their attention to cohesion and convention. Come on in and shelter from this \u003cem>Storm\u003c/em> with a truly unreliable cast of characters.\u003c/p>\n\u003ch3>‘Rabbit Hole’ by Kate Brody\u003c/h3>\n\u003cfigure id=\"attachment_13956157\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png\" alt=\"A book cover depicting a woman's face partially obscured by a finger print. \" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Rabbit Hole’ by Kate Brody. \u003ccite>(Soho Crime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade ago, Teddy Angstrom’s older sister Angie disappeared at age 18. When their father chooses suicide on the anniversary of Angie’s death, the now 26-year-old Teddy leaves the private school in Maine where she teaches English for home to sort out family matters with her grieving mother. Teddy discovers Mark Angstrom had grown obsessed with Reddit boards about true crime, some of them specifically about Angie’s case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955214","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Her initial look at the discussions soon turns into an obsession equaling her father’s, one that will pull her into the orbit of 19-year-old Mickey, a local college student with multiple tattoos and perhaps multiple motives for the assistance she gives Teddy. The weird friendship these women create reflects the darkness into which Teddy descends, continuing her addiction to the internet as she develops an addiction to alcohol, and accidentally outing herself as Angie’s sister to the various members of the Reddit boards.\u003c/p>\n\u003cp>Brody wisely builds the suspense around Teddy’s dissolution and paranoia, rather than focusing on the details of Angie’s fate, creating an atmosphere so suffocating and panicky that readers will feel the effects of loss, grief, and confusion as surely as if they were inside Teddy’s very smart and once better-adjusted mind. Teddy’s longing not just for her sister’s survival but for their ability to share life as 20-somethings marks her more indelibly than Mickey’s body ink.\u003c/p>\n\u003ch3>‘The Berlin Letters’ by Katherine Reay\u003c/h3>\n\u003cfigure id=\"attachment_13956158\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png\" alt=\"A book cover depicting a woman dressed in conservative 1980s-era clothing stands, arms folded in front of a small yellow car and a wall of graffiti.\" width=\"820\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-768x1135.png 768w\" sizes=\"(max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘The Berlin Letters’ by Katherine Reay. \u003ccite>(Harper Muse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brilliant cryptographer Luisa Voekler, whose talent was nurtured by her grandfather’s frequent code-based scavenger hunts, wants to move up in the CIA, but finds her career sidelined in the late 1980s as she translates World War II documents. One day she recognizes a tiny symbol that will lead her down a dangerous path. Her discovery involves her father, Haris, who remains in the East Berlin his family left in 1961 as the East German government put up a wall dividing the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955156","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Reay has written a number of novels based on Brontë and Austen characters, as well as a couple of lighthearted looks at women’s friendships in Illinois, but in 2021 she turned to darker territory, setting books about spycraft in London, Moscow — and now Berlin and Washington, D.C. The cover of \u003cem>The Berlin Letters\u003c/em> announces both its relatively recent time period, with the figure of a young woman dressed in contemporary clothing, yet also nods to the singularity of modern Berlin, with a backdrop of the Wall covered in graffiti and the trunk of an iconic East German Trabant or “Trabi” auto (known for being constructed from lightweight resin).\u003c/p>\n\u003cp>The author knows East and West Berlin inside out, discussing details like the houses on Bernauer Strasse that allowed inhabitants, for a time, to easily defect simply by walking out of their front doors. However, those details never overwhelm a fast-paced story told by father and daughter from their different vantage points, as Luisa learns the truth of her past, and both stories reach the shocking, history-making night when The Berlin Wall fell on Nov. 9, 1989.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003c/em>\u003ca href=\"https://twitter.com/thebookmaven\">\u003cem>@TheBookMaven\u003c/em>\u003c/a>\u003cem> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+new+mysteries+and+thrillers+for+your+nightstand+this+spring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956128/best-mysteries-and-thriller-novels-spring-2024","authors":["byline_arts_13956128"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_5221","arts_769","arts_585","arts_11718"],"affiliates":["arts_137"],"featImg":"arts_13956129","label":"arts_140"},"arts_13919589":{"type":"posts","id":"arts_13919589","meta":{"index":"posts_1591205157","site":"arts","id":"13919589","found":true},"guestAuthors":[],"slug":"haunted-mansion-sutro-tower-kgo-television","title":"A ‘Haunted Mansion’ Once Stood Directly Under Sutro Tower","publishDate":1666127832,"format":"standard","headTitle":"A ‘Haunted Mansion’ Once Stood Directly Under Sutro Tower | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 1930, Adolph Gilbert Sutro decided to build a mansion on land that had been in his family since his more famous grandfather purchased it in the 1870s.\u003c/p>\n\u003cp>The plot of land, though it came with views of San Francisco and the East Bay stretching all the way to Mount Diablo, was a cold and uninviting place that got swallowed by thick fog on a daily basis. It had but one hidden entrance, at the end of a narrow lane, encased on all sides by dense rows of trees and tangled blackberry vines. Still, Sutro decided that this isolated southern crest of Mount Sutro would be the perfect place to build his dream home. A mansion that, 40 years later, more closely resembled something out of a nightmare.\u003c/p>\n\u003cp>[aside postid='arts_13881990']Sutro’s mansion, dubbed La Avanzada, cost $250,000 to build (about $5.4 million in 2022 money) and was designed by English architect \u003ca href=\"https://en.wikipedia.org/wiki/Harold_G._Stoner\">Harold G. Stoner\u003c/a>. It had three stories, 15 rooms, a footprint of 15,000 square feet, and several turrets. It had unusual features like big stone lions at its entrance, a door completely covered with animal hide, and wall sconces that could accommodate torches. Each room was decorated elaborately with wood panels, stained glass and spider-web motifs. One room even resembled a Swiss chalet.\u003c/p>\n\u003cp>Sutro lived in the mansion with his mother for 18 years, but when they left, they did so in a hurry. In August 1948, Sutro sold his home for less than half of what he had spent on building it. The buyer? A brand-new television station, KGO-TV.\u003c/p>\n\u003cfigure id=\"attachment_13919697\" class=\"wp-caption aligncenter\" style=\"max-width: 795px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp26.1405.jpg\" alt=\"An old mansion with turrets and multiple levels sits incongruously with a giant communications tower emerging from directly behind it.\" width=\"795\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp26.1405.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp26.1405-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp26.1405-768x966.jpg 768w\" sizes=\"(max-width: 795px) 100vw, 795px\">\u003cfigcaption class=\"wp-caption-text\">When KGO-TV moved into the mansion, it was responsible for putting up the first tower and antenna on Mount Sutro. \u003ccite>(OpenSFHistory / wnp26.1405)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KGO Radio had long operated out of 420 Taylor St. in downtown San Francisco, but those studios were not equipped to accommodate a TV station. KGO’s chief engineer A. E. “Shorty” Evans scouted suitable locations and landed on the Sutro mansion as the perfect place to build out a studio. (In 1949, the \u003cem>San Francisco Examiner\u003c/em> called it “the finest site in the Bay Area for the purpose.”) A director of engineering for Channel 7 named Harry Jacobs was brought in to build a 500-foot transmission tower for KGO-TV. It took a year to construct and had a range of 60 miles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KGO agreed to terms in its real estate contract that forbade the company from altering the mansion’s exterior or cutting down trees on the property’s five acres, unless it was absolutely necessary. The TV station even agreed to have no more than 25 people on the land at any given time. In the channel’s earliest days, that was doable — it broadcast for only 12 hours per week. (Within a year, that amount had increased to 35 hours.)\u003c/p>\n\u003cp>Inside the house, the former library acted as a rehearsal studio. The mansion’s ballroom hosted variety shows. Its great hall was used as an “auxiliary studio for live telecasts.” The lounges were remodeled for office use, and the bedrooms were locked up altogether. It didn’t take long for Sutro’s former house to get a creepy reputation. KGO-TV staff members nicknamed it “the haunted mansion” and complained about working in such strange environs.\u003c/p>\n\u003cp>In a 1977 \u003cem>Berkeley Gazette\u003c/em> column, a former employee named George Tashman recalled:\u003c/p>\n\u003cblockquote>\u003cp>I did some telecasting for KGO-TV at the time, and driving up the curving, tortuous road to the mansion — which resembled nothing so much as Castle Dracula — was a dreadful job. But coming out after a broadcast, and finding the entire road socked in by fog made driving down a two-man operation: one to drive and one to stand next to the left fender and walk on the white line for guidance.\u003c/p>\u003c/blockquote>\n\u003cp>Still, local people and media held a fascination with the mansion. “Imagination could have a splendid time making [the house] an eerie background for thrills and excitement,” the \u003cem>Oakland Tribune\u003c/em> reported in 1969. “Especially on a dark night with the wind whipping the tall eucalyptus trees and the fog curling up the hill to blot out the lights below.” The newspaper described the property as “brooding and baffling.”\u003c/p>\n\u003cp>KGO-TV endured only four years — between 1949 and 1953 — of filming and broadcasting in the mansion. At that time, the studios temporarily moved to Taylor Street, before arriving in 1954 at their new headquarters at 277 Golden Gate Ave. Only KGO-TV’s trusty engineers remained behind at the house.\u003c/p>\n\u003cfigure id=\"attachment_13919698\" class=\"wp-caption aligncenter\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp14.4746.jpg\" alt=\"The KGO-TV mansion, as viewed from beneath, with a TV truck parked outside, and giant transmission tower stretching up into the sky.\" width=\"788\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp14.4746.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp14.4746-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp14.4746-768x975.jpg 768w\" sizes=\"(max-width: 788px) 100vw, 788px\">\u003cfigcaption class=\"wp-caption-text\">The KGO-TV mansion, as viewed from beneath, with a ramshackle TV truck parked outside, and giant transmission tower thrusting up into the sky. \u003ccite>(OpenSFHistory / wnp14.4746)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of the ’60s, the city had decided the mysterious old mansion had to go. Arguments, hearings and legal battles about how and where to build a better transmitter and higher tower for the Bay Area’s television stations had been dragging on since 1956. The Federal Aviation Agency objected to Mount San Bruno as a location because of its close proximity to the airport, so Mount Sutro became the chosen place. The new $4 million tower was intended to eliminate the frequency with which Bay Area television viewers needed to adjust their TV antennas.\u003c/p>\n\u003cp>[aside postid='arts_13917340']In 1969, ground was broken for the construction of the Sutro Tower as we know it today. Adolph G. Sutro’s once protected home was deemed a fire hazard, eyesore and vandal attraction — by then, the windows were regularly broken by thrill seekers and had long been boarded up. The now-dilapidated mansion was unceremoniously demolished.\u003c/p>\n\u003cp>That is, except for the two lions that once greeted visitors at the front of Adolph G. Sutro’s house — which originally come from his grandfather’s Virginia City home. As the mansion was destroyed, the lions were gifted to San Francisco Parks and Recreation and moved to Meadow Park at Fort Mason. It’s unclear now where they ultimately ended up. (The lion currently at Sutro Heights Park came from the original Sutro mansion that overlooked Sutro Baths.)\u003c/p>\n\u003cp>Today, all that remains of the mansion is a set of stone stairs that sits within a restricted area underneath Sutro Tower. KQED Network Systems Engineer Michael Kadel had to brave steep slopes and a group of beehives to get the photo below.\u003c/p>\n\u003cfigure id=\"attachment_13920496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/2022-10-18-07.08.57-800x450.jpg\" alt=\"An old set of stone stairs hidden under leaves and overgrowth.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">The mansion’s old front steps as they look today. \u003ccite>(Michael Kadel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13883118']As construction neared its end, the new Sutro Tower — with its 3.5 million pounds of steel, anchored by 15 million pounds of cement — was considered by neighbors to be far uglier than the mansion ever had been. In 1972, just months away from the tower’s completion, the \u003cem>San Francisco Examiner\u003c/em> called it an “ungainly, ugly, iron atrocity” — a far cry from how the structure is viewed today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As for Adolph G. Sutro? After selling his mansion to KGO-TV, he resided in San Luis Rey near San Diego until his mother’s death in 1961. At that point, he moved to the Portuguese island of Madeira where he died in 1981. According to newspaper reports, he also owned a mysterious mansion there, though no trace of it can be found today — a fate that befell so many of his family’s homes.\u003c/p>\n\n","blocks":[],"excerpt":"Adolph Sutro’s grandson owned a mansion in Twin Peaks until he sold to KGO in 1948. Twenty years later, it was gone.","status":"publish","parent":0,"modified":1705006257,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1274},"headData":{"title":"A ‘Haunted Mansion’ Once Stood Directly Under Sutro Tower | KQED","description":"Adolph Sutro’s grandson owned a mansion in Twin Peaks until he sold to KGO in 1948. Twenty years later, it was gone.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A ‘Haunted Mansion’ Once Stood Directly Under Sutro Tower","datePublished":"2022-10-18T21:17:12.000Z","dateModified":"2024-01-11T20:50:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/46b06dde-7a2e-4ac0-86ab-af5001371fe9/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13919589/haunted-mansion-sutro-tower-kgo-television","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1930, Adolph Gilbert Sutro decided to build a mansion on land that had been in his family since his more famous grandfather purchased it in the 1870s.\u003c/p>\n\u003cp>The plot of land, though it came with views of San Francisco and the East Bay stretching all the way to Mount Diablo, was a cold and uninviting place that got swallowed by thick fog on a daily basis. It had but one hidden entrance, at the end of a narrow lane, encased on all sides by dense rows of trees and tangled blackberry vines. Still, Sutro decided that this isolated southern crest of Mount Sutro would be the perfect place to build his dream home. A mansion that, 40 years later, more closely resembled something out of a nightmare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13881990","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Sutro’s mansion, dubbed La Avanzada, cost $250,000 to build (about $5.4 million in 2022 money) and was designed by English architect \u003ca href=\"https://en.wikipedia.org/wiki/Harold_G._Stoner\">Harold G. Stoner\u003c/a>. It had three stories, 15 rooms, a footprint of 15,000 square feet, and several turrets. It had unusual features like big stone lions at its entrance, a door completely covered with animal hide, and wall sconces that could accommodate torches. Each room was decorated elaborately with wood panels, stained glass and spider-web motifs. One room even resembled a Swiss chalet.\u003c/p>\n\u003cp>Sutro lived in the mansion with his mother for 18 years, but when they left, they did so in a hurry. In August 1948, Sutro sold his home for less than half of what he had spent on building it. The buyer? A brand-new television station, KGO-TV.\u003c/p>\n\u003cfigure id=\"attachment_13919697\" class=\"wp-caption aligncenter\" style=\"max-width: 795px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp26.1405.jpg\" alt=\"An old mansion with turrets and multiple levels sits incongruously with a giant communications tower emerging from directly behind it.\" width=\"795\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp26.1405.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp26.1405-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp26.1405-768x966.jpg 768w\" sizes=\"(max-width: 795px) 100vw, 795px\">\u003cfigcaption class=\"wp-caption-text\">When KGO-TV moved into the mansion, it was responsible for putting up the first tower and antenna on Mount Sutro. \u003ccite>(OpenSFHistory / wnp26.1405)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KGO Radio had long operated out of 420 Taylor St. in downtown San Francisco, but those studios were not equipped to accommodate a TV station. KGO’s chief engineer A. E. “Shorty” Evans scouted suitable locations and landed on the Sutro mansion as the perfect place to build out a studio. (In 1949, the \u003cem>San Francisco Examiner\u003c/em> called it “the finest site in the Bay Area for the purpose.”) A director of engineering for Channel 7 named Harry Jacobs was brought in to build a 500-foot transmission tower for KGO-TV. It took a year to construct and had a range of 60 miles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KGO agreed to terms in its real estate contract that forbade the company from altering the mansion’s exterior or cutting down trees on the property’s five acres, unless it was absolutely necessary. The TV station even agreed to have no more than 25 people on the land at any given time. In the channel’s earliest days, that was doable — it broadcast for only 12 hours per week. (Within a year, that amount had increased to 35 hours.)\u003c/p>\n\u003cp>Inside the house, the former library acted as a rehearsal studio. The mansion’s ballroom hosted variety shows. Its great hall was used as an “auxiliary studio for live telecasts.” The lounges were remodeled for office use, and the bedrooms were locked up altogether. It didn’t take long for Sutro’s former house to get a creepy reputation. KGO-TV staff members nicknamed it “the haunted mansion” and complained about working in such strange environs.\u003c/p>\n\u003cp>In a 1977 \u003cem>Berkeley Gazette\u003c/em> column, a former employee named George Tashman recalled:\u003c/p>\n\u003cblockquote>\u003cp>I did some telecasting for KGO-TV at the time, and driving up the curving, tortuous road to the mansion — which resembled nothing so much as Castle Dracula — was a dreadful job. But coming out after a broadcast, and finding the entire road socked in by fog made driving down a two-man operation: one to drive and one to stand next to the left fender and walk on the white line for guidance.\u003c/p>\u003c/blockquote>\n\u003cp>Still, local people and media held a fascination with the mansion. “Imagination could have a splendid time making [the house] an eerie background for thrills and excitement,” the \u003cem>Oakland Tribune\u003c/em> reported in 1969. “Especially on a dark night with the wind whipping the tall eucalyptus trees and the fog curling up the hill to blot out the lights below.” The newspaper described the property as “brooding and baffling.”\u003c/p>\n\u003cp>KGO-TV endured only four years — between 1949 and 1953 — of filming and broadcasting in the mansion. At that time, the studios temporarily moved to Taylor Street, before arriving in 1954 at their new headquarters at 277 Golden Gate Ave. Only KGO-TV’s trusty engineers remained behind at the house.\u003c/p>\n\u003cfigure id=\"attachment_13919698\" class=\"wp-caption aligncenter\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp14.4746.jpg\" alt=\"The KGO-TV mansion, as viewed from beneath, with a TV truck parked outside, and giant transmission tower stretching up into the sky.\" width=\"788\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp14.4746.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp14.4746-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp14.4746-768x975.jpg 768w\" sizes=\"(max-width: 788px) 100vw, 788px\">\u003cfigcaption class=\"wp-caption-text\">The KGO-TV mansion, as viewed from beneath, with a ramshackle TV truck parked outside, and giant transmission tower thrusting up into the sky. \u003ccite>(OpenSFHistory / wnp14.4746)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of the ’60s, the city had decided the mysterious old mansion had to go. Arguments, hearings and legal battles about how and where to build a better transmitter and higher tower for the Bay Area’s television stations had been dragging on since 1956. The Federal Aviation Agency objected to Mount San Bruno as a location because of its close proximity to the airport, so Mount Sutro became the chosen place. The new $4 million tower was intended to eliminate the frequency with which Bay Area television viewers needed to adjust their TV antennas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13917340","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In 1969, ground was broken for the construction of the Sutro Tower as we know it today. Adolph G. Sutro’s once protected home was deemed a fire hazard, eyesore and vandal attraction — by then, the windows were regularly broken by thrill seekers and had long been boarded up. The now-dilapidated mansion was unceremoniously demolished.\u003c/p>\n\u003cp>That is, except for the two lions that once greeted visitors at the front of Adolph G. Sutro’s house — which originally come from his grandfather’s Virginia City home. As the mansion was destroyed, the lions were gifted to San Francisco Parks and Recreation and moved to Meadow Park at Fort Mason. It’s unclear now where they ultimately ended up. (The lion currently at Sutro Heights Park came from the original Sutro mansion that overlooked Sutro Baths.)\u003c/p>\n\u003cp>Today, all that remains of the mansion is a set of stone stairs that sits within a restricted area underneath Sutro Tower. KQED Network Systems Engineer Michael Kadel had to brave steep slopes and a group of beehives to get the photo below.\u003c/p>\n\u003cfigure id=\"attachment_13920496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/2022-10-18-07.08.57-800x450.jpg\" alt=\"An old set of stone stairs hidden under leaves and overgrowth.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">The mansion’s old front steps as they look today. \u003ccite>(Michael Kadel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13883118","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As construction neared its end, the new Sutro Tower — with its 3.5 million pounds of steel, anchored by 15 million pounds of cement — was considered by neighbors to be far uglier than the mansion ever had been. In 1972, just months away from the tower’s completion, the \u003cem>San Francisco Examiner\u003c/em> called it an “ungainly, ugly, iron atrocity” — a far cry from how the structure is viewed today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for Adolph G. Sutro? After selling his mansion to KGO-TV, he resided in San Luis Rey near San Diego until his mother’s death in 1961. At that point, he moved to the Portuguese island of Madeira where he died in 1981. According to newspaper reports, he also owned a mysterious mansion there, though no trace of it can be found today — a fate that befell so many of his family’s homes.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919589/haunted-mansion-sutro-tower-kgo-television","authors":["11242"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_6660","arts_14353","arts_10342","arts_10278","arts_15375"],"featImg":"arts_13919696","label":"arts"},"arts_13956308":{"type":"posts","id":"arts_13956308","meta":{"index":"posts_1591205157","site":"arts","id":"13956308","found":true},"guestAuthors":[],"slug":"electric-bills-energy-queen-kinfolx-oakland","title":"A Jolt of Reality: The Energy Queen at Kinfolx in Oakland","publishDate":1713903264,"format":"standard","headTitle":"A Jolt of Reality: The Energy Queen at Kinfolx in Oakland | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">We all know \u003ca href=\"https://ballotpedia.org/Rent_is_2_Damn_High\">the rent is too damn high\u003c/a>, but let’s talk about the electricity bill for a minute. \u003c/span>\u003c/p>\n\u003cp>In November, the California Public Utilities Commission approved a rate increase for PG&E customers of approximately 12.8%, or what \u003ca style=\"color: #41a62a\" href=\"https://www.pge.com/en/regulation/general-rate-case.html\" target=\"_blank\" rel=\"noopener\"> PG&E\u003c/a> said should be about an increase of $32.50 for an average bill.\u003c/p>\n\u003cp>For many, this news didn’t hit home until it was reflected in their monthly bill this year. And then questions popped up. Namely, what can be done to lower the cost of electricity?\u003c/p>\n\u003cfigure id=\"attachment_13956427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956427\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-800x600.jpg\" alt=\"Students sit in a classroom, taking notes as Nia Jones speaks about climate change and clean energy. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nia Jones speaks to a classroom of students about climate change and clean energy. \u003ccite>(M. Mensah Webb, MS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Enter Nia Jones. She’s a clean energy advocate. In fact, her nickname is the \u003ca href=\"https://www.energyqueen19.com/\" target=\"_blank\" rel=\"noopener\">Energy Queen\u003c/a>. She’s originally from Washington, D.C., and currently based in Oakland. She’s got two immediate goals: to inform people about what’s happening to their energy bill, and to show them how it connects to the bigger picture. \u003c/span>\u003c/p>\n\u003cp>Over the past few months, Jones has hosted discussions on the topic at public libraries around Oakland; \u003cspan style=\"font-weight: 400\">on Tuesday, May 7, she’ll be at \u003ca href=\"https://linktr.ee/kinfolx\" target=\"_blank\" rel=\"noopener\">Kinfolx Cafe\u003c/a> discussing all things electricity.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In line with the cafe’s ongoing series of teach-in sessions, where local practitioners share insight on their area of expertise, Jones will discuss lowering electricity costs, the future of electric cars, and ways to use solar power to not only generate energy, but revenue as well.\u003c/p>\n\u003cfigure id=\"attachment_13956428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-800x1067.jpg\" alt=\"Nia Jones speaking to a room full of attendees at the annual Megawatt conference.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nia Jones speaks to attendees of the annual Megawatt conference. \u003ccite>(Njeri Bennet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jones\u003c/span> has a master’s degree in \u003cspan style=\"font-weight: 400\">energy and resources\u003c/span> from UC Berkeley, and she’s spoken at the United Nations Climate Change Conferences in Egypt and Dubai. But right now she’s focusing her work on the Bay Area.\u003c/p>\n\u003cp>“Oakland has so much potential, in my opinion, to be a leader, and be a real clean community, a sustainable community,” Jones says.\u003c/p>\n\u003cp>As an example, she mentions the \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.actransit.org/zeb#:~:text=AC%20Transit%20is%20moving%20from,will%20be%20zero%20emission%20buses.\" target=\"_blank\" rel=\"noopener\">AC Transit bus system\u003c/a>, where one out of every 10 buses is a clean energy vehicle. (By 2040, the agency aims to operate a 100% clean energy fleet.) Expanding from there, she says the state has shown the ability to take innovative approaches to energy usage, from its prevalence of electric vehicles to the mass installation of rooftop solar panels. \u003c/span>\u003c/p>\n\u003cp>And while she’s focused locally, Jones knows it’s imperative to broaden the conversation to the national level by looking at how the federal government is supporting energy innovation.\u003c/p>\n\u003cp>“There is legislation and money for us to take advantage of,” Jones tells me during a recent phone call. “And when I say ‘\u003cem>us\u003c/em>,’ I mean Black and Brown communities that are historically disadvantaged when it comes to energy.”\u003c/p>\n\u003cp>Jones adds that her aim is to discuss the concept of “energy justice.” To guide people through the topic, she uses acronyms, like “A.R.C.” Jones tells me that the \u003cspan style=\"font-weight: 400\">A stands for affordable energy, and the R for reliable energy, and the C for clean energy.\u003c/span>\u003c/p>\n\u003cp>Through her unique methodology, Jones is looking to demystify what’s going on with energy. At the same time, she plans on giving gift cards to folks who attend. They’ll not only walk away with a new perspective on how energy works, but also some financial assistance to go toward keeping the lights on.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nia Jones speaks on clean energy and lowering your electricity bill on Tuesday, May 7, at \u003ca href=\"https://www.instagram.com/kinfolxoak/\">Kinfolx Cafe\u003c/a> in Oakland. The event starts at 6:30pm and is free to all.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Nia Jones wants to demystify your high PG&E bill — and build a more sustainable energy future. ","status":"publish","parent":0,"modified":1713903264,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":623},"headData":{"title":"A Jolt of Reality: The Energy Queen at Kinfolx in Oakland | KQED","description":"Nia Jones wants to demystify your high PG&E bill — and build a more sustainable energy future. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Jolt of Reality: The Energy Queen at Kinfolx in Oakland","datePublished":"2024-04-23T20:14:24.000Z","dateModified":"2024-04-23T20:14:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956308/electric-bills-energy-queen-kinfolx-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">We all know \u003ca href=\"https://ballotpedia.org/Rent_is_2_Damn_High\">the rent is too damn high\u003c/a>, but let’s talk about the electricity bill for a minute. \u003c/span>\u003c/p>\n\u003cp>In November, the California Public Utilities Commission approved a rate increase for PG&E customers of approximately 12.8%, or what \u003ca style=\"color: #41a62a\" href=\"https://www.pge.com/en/regulation/general-rate-case.html\" target=\"_blank\" rel=\"noopener\"> PG&E\u003c/a> said should be about an increase of $32.50 for an average bill.\u003c/p>\n\u003cp>For many, this news didn’t hit home until it was reflected in their monthly bill this year. And then questions popped up. Namely, what can be done to lower the cost of electricity?\u003c/p>\n\u003cfigure id=\"attachment_13956427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956427\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-800x600.jpg\" alt=\"Students sit in a classroom, taking notes as Nia Jones speaks about climate change and clean energy. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_7215-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nia Jones speaks to a classroom of students about climate change and clean energy. \u003ccite>(M. Mensah Webb, MS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Enter Nia Jones. She’s a clean energy advocate. In fact, her nickname is the \u003ca href=\"https://www.energyqueen19.com/\" target=\"_blank\" rel=\"noopener\">Energy Queen\u003c/a>. She’s originally from Washington, D.C., and currently based in Oakland. She’s got two immediate goals: to inform people about what’s happening to their energy bill, and to show them how it connects to the bigger picture. \u003c/span>\u003c/p>\n\u003cp>Over the past few months, Jones has hosted discussions on the topic at public libraries around Oakland; \u003cspan style=\"font-weight: 400\">on Tuesday, May 7, she’ll be at \u003ca href=\"https://linktr.ee/kinfolx\" target=\"_blank\" rel=\"noopener\">Kinfolx Cafe\u003c/a> discussing all things electricity.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In line with the cafe’s ongoing series of teach-in sessions, where local practitioners share insight on their area of expertise, Jones will discuss lowering electricity costs, the future of electric cars, and ways to use solar power to not only generate energy, but revenue as well.\u003c/p>\n\u003cfigure id=\"attachment_13956428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-800x1067.jpg\" alt=\"Nia Jones speaking to a room full of attendees at the annual Megawatt conference.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_0902-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nia Jones speaks to attendees of the annual Megawatt conference. \u003ccite>(Njeri Bennet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jones\u003c/span> has a master’s degree in \u003cspan style=\"font-weight: 400\">energy and resources\u003c/span> from UC Berkeley, and she’s spoken at the United Nations Climate Change Conferences in Egypt and Dubai. But right now she’s focusing her work on the Bay Area.\u003c/p>\n\u003cp>“Oakland has so much potential, in my opinion, to be a leader, and be a real clean community, a sustainable community,” Jones says.\u003c/p>\n\u003cp>As an example, she mentions the \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.actransit.org/zeb#:~:text=AC%20Transit%20is%20moving%20from,will%20be%20zero%20emission%20buses.\" target=\"_blank\" rel=\"noopener\">AC Transit bus system\u003c/a>, where one out of every 10 buses is a clean energy vehicle. (By 2040, the agency aims to operate a 100% clean energy fleet.) Expanding from there, she says the state has shown the ability to take innovative approaches to energy usage, from its prevalence of electric vehicles to the mass installation of rooftop solar panels. \u003c/span>\u003c/p>\n\u003cp>And while she’s focused locally, Jones knows it’s imperative to broaden the conversation to the national level by looking at how the federal government is supporting energy innovation.\u003c/p>\n\u003cp>“There is legislation and money for us to take advantage of,” Jones tells me during a recent phone call. “And when I say ‘\u003cem>us\u003c/em>,’ I mean Black and Brown communities that are historically disadvantaged when it comes to energy.”\u003c/p>\n\u003cp>Jones adds that her aim is to discuss the concept of “energy justice.” To guide people through the topic, she uses acronyms, like “A.R.C.” Jones tells me that the \u003cspan style=\"font-weight: 400\">A stands for affordable energy, and the R for reliable energy, and the C for clean energy.\u003c/span>\u003c/p>\n\u003cp>Through her unique methodology, Jones is looking to demystify what’s going on with energy. At the same time, she plans on giving gift cards to folks who attend. They’ll not only walk away with a new perspective on how energy works, but also some financial assistance to go toward keeping the lights on.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nia Jones speaks on clean energy and lowering your electricity bill on Tuesday, May 7, at \u003ca href=\"https://www.instagram.com/kinfolxoak/\">Kinfolx Cafe\u003c/a> in Oakland. The event starts at 6:30pm and is free to all.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956308/electric-bills-energy-queen-kinfolx-oakland","authors":["11491"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_1407","arts_8700","arts_22100","arts_1143","arts_585"],"featImg":"arts_13956400","label":"arts_140"},"arts_13956133":{"type":"posts","id":"arts_13956133","meta":{"index":"posts_1591205157","site":"arts","id":"13956133","found":true},"guestAuthors":[],"slug":"tickets-presale-code-charli-xcx-and-troye-sivan-san-francsico","title":"Ticket Alert: Charli XCX and Troye Sivan Are Coming to San Francisco","publishDate":1713374646,"format":"standard","headTitle":"Ticket Alert: Charli XCX and Troye Sivan Are Coming to San Francisco | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Charli XCX and Troye Sivan have announced their \u003ca href=\"https://www.sweat-tour.com/\">2024 \u003cem>Sweat\u003c/em> tour\u003c/a>, including a co-headlining show at San Francisco’s Chase Center on Oct. 20, 2024.\u003c/p>\n\u003cp>Tickets for their San Francisco appearance can be bought early, at 10 a.m. on Thursday, April 25, by registering for a \u003ca href=\"https://go.seated.com/tour-events/c4cd0dff-613d-4f82-aa6d-823d1be5a2a4\">presale code\u003c/a> at the \u003ca href=\"https://www.sweat-tour.com/\">tour’s site\u003c/a>. Presale registration includes email and phone notifications. (Note that some presale codes are sent just a few minutes before the presale.)\u003c/p>\n\u003cp>Tickets go on sale to the general public the following day, on Friday, April 26, at 10 a.m.\u003c/p>\n\u003cp>Keeping with Charli XCX’s hard turn into club music for her upcoming album \u003cem>Brat\u003c/em>, due June 7, the \u003cem>Sweat\u003c/em> tour promises to “to turn iconic U.S. and Canadian venues into raves.”\u003c/p>\n\u003cp>Charli XCX last performed in the Bay Area at Oakland’s Fox Theater to kick off her \u003cem>Crash\u003c/em> tour in 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Presale code information and other details for Charli XCX and Troye Sivan's 'Sweat' tour.","status":"publish","parent":0,"modified":1713818818,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":157},"headData":{"title":"Charli XCX and Troye Sivan: Presale Code Info and Ticket Details | KQED","description":"How to get early tickets for Charli XCX and Troye Sivan's 'Sweat' tour, including their show at San Francisco's Chase Center.","ogTitle":"Ticket Alert: Charli XCX and Troye Sivan Are Coming to San Francsico","ogDescription":"Presale code information and other details for Charli XCX and Troye Sivan's 'Sweat' tour.","ogImgId":"","twTitle":"Ticket Alert: Charli XCX and Troye Sivan Are Coming to San Francsico","twDescription":"Presale code information and other details for Charli XCX and Troye Sivan's 'Sweat' tour.","twImgId":"","socialTitle":"Charli XCX and Troye Sivan: Presale Code Info and Ticket Details %%page%% %%sep%% KQED","socialDescription":"How to get early tickets for Charli XCX and Troye Sivan's 'Sweat' tour, including their show at San Francisco's Chase Center.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ticket Alert: Charli XCX and Troye Sivan Are Coming to San Francisco","datePublished":"2024-04-17T17:24:06.000Z","dateModified":"2024-04-22T20:46:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956133/tickets-presale-code-charli-xcx-and-troye-sivan-san-francsico","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Charli XCX and Troye Sivan have announced their \u003ca href=\"https://www.sweat-tour.com/\">2024 \u003cem>Sweat\u003c/em> tour\u003c/a>, including a co-headlining show at San Francisco’s Chase Center on Oct. 20, 2024.\u003c/p>\n\u003cp>Tickets for their San Francisco appearance can be bought early, at 10 a.m. on Thursday, April 25, by registering for a \u003ca href=\"https://go.seated.com/tour-events/c4cd0dff-613d-4f82-aa6d-823d1be5a2a4\">presale code\u003c/a> at the \u003ca href=\"https://www.sweat-tour.com/\">tour’s site\u003c/a>. Presale registration includes email and phone notifications. (Note that some presale codes are sent just a few minutes before the presale.)\u003c/p>\n\u003cp>Tickets go on sale to the general public the following day, on Friday, April 26, at 10 a.m.\u003c/p>\n\u003cp>Keeping with Charli XCX’s hard turn into club music for her upcoming album \u003cem>Brat\u003c/em>, due June 7, the \u003cem>Sweat\u003c/em> tour promises to “to turn iconic U.S. and Canadian venues into raves.”\u003c/p>\n\u003cp>Charli XCX last performed in the Bay Area at Oakland’s Fox Theater to kick off her \u003cem>Crash\u003c/em> tour in 2022.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956133/tickets-presale-code-charli-xcx-and-troye-sivan-san-francsico","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_6926","arts_1146","arts_585","arts_700","arts_4798"],"featImg":"arts_13956134","label":"arts_140"},"arts_13889729":{"type":"posts","id":"arts_13889729","meta":{"index":"posts_1591205157","site":"arts","id":"13889729","found":true},"guestAuthors":[],"slug":"the-12-plays-of-christmas-or-how-to-spend-your-winter-vacation","title":"The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation","publishDate":1606943462,"format":"standard","headTitle":"The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Rejoice, rejoice. While being home for the holidays might seem like a redundant concept this year, you don’t have to spend them in total isolation. Here are 12 ways to give yourself the gift of a little escapist pleasure at the end of this unprecedented year while supporting the Bay Area’s heavily impacted performing arts.\u003c/p>\n\u003cfigure id=\"attachment_13889792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac gets saucy with the holidays. \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Don We Now Our Gay Apparel\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">Holiday Sauce…Pandemic!\u003c/a>‘\u003c/strong>\u003cbr>\nCurran Theatre \u003c/p>\n\u003cp>Fans of full-spectrum spectacle need look no further than the works of MacArthur Fellow Taylor Mac, whose shows embody an expansive vision of queer abundance (and abundant queers). A regular visitor to the Bay Area, Mac first presented \u003cem>Holiday Sauce\u003c/em> on the Curran stage in 2018, a sumptuous romp through holiday memories and songs. All proceeds of this year’s virtual offering will go to \u003ca href=\"http://www.openhousesf.org\">Openhouse\u003c/a>, a local community resource for LGBTQ+ seniors.\u003c/p>\n\u003cp>\u003cem>Livestream Dec. 12 at 7pm only. On demand until Jan. 2. $10. Info and tickets\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Girls LIVE: Christmas Episodes\u003c/a>‘\u003c/strong>\u003cbr>\nSF Oasis\u003c/p>\n\u003cp>A beloved San Francisco holiday tradition, \u003cem>Golden Girls LIVE: Christmas Episodes\u003c/em> offers nostalgia, drag hilarity, and genuine heart all wrapped up in a Betty White-channeling bow. Co-starring Heklina (Dorothy), Matthew Martin (Blanche), D’Arcy Drollinger (Rose) and Holotta Tymes (Sophia) as our quirky quartet, this year’s episodes will be streamed live from SF Oasis headquarters, complete with a virtual sing-along and VIP meet-and-greet with the cast.\u003c/p>\n\u003cp>\u003cem>Dec. 17-20, times vary. $30-$50. Info and tickets \u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>‘\u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>A Mighty Queer Virtual Variety Show\u003c/strong>\u003c/a>‘\u003cbr>\nNew Conservatory Theatre Center\u003c/p>\n\u003cp>Poets, performance artists, drag stars and circus acts alike appear on the New Conservatory Theatre Center’s virtual stage. Wrangled by Epic Party Theatre’s Richard A. Mosqueda, and hosted by operatic drag diva Dusty Pörn, this festive holiday sampler will fill you with holiday cheer. With Azuah, SevanKelee Lucky 7 Boult, Baruch Porras Hernandez, SNJV, and aerialist Joey The Tiger.\u003c/p>\n\u003cp>\u003cem>Dec. 13–Jan. 3, on demand. $10-$40. Info and tickets \u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13889789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santa Claus (Glen Micheletti) is here to save Christmas for you. \u003ccite>(JW Darwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Home Alone\u003c/h2>\n\u003cp>\u003ca href=\"http://www.getsantaclaus.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Get Santa Claus\u003c/strong>\u003c/a>\u003cbr>\nGlen A. Micheletti\u003c/p>\n\u003cp>Worried about how the kiddies are going to get Santa their wishlist this year? Let expert magician and professional Santa Claus Glen A. Micheletti help. Like so many other performers, Santa Glen has developed ways to bring his act online, and offers personalized virtual visits for individual family units, large family “gatherings” and company ho-ho-holiday parties.\u003c/p>\n\u003cp>\u003cem>Rates start at $150 for one screen. Custom pricing and packages available for groups. Info and bookings\u003ca href=\"http://www.getsantaclaus.com\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Jewelry Box\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Playhouse\u003c/p>\n\u003cp>If you’re one of the thousands of Bay Area denizens who’ve seen Brian Copeland’s \u003cem>Not a Genuine Black Man\u003c/em>, this holiday prequel is for you. A richly detailed portrait of Oakland city life as seen through the eyes of a six-year-old child on a quest to earn the perfect Christmas gift for his mother. Copeland’s performance is filmed live onstage at San Francisco Playhouse, and streamed on demand through Christmas Day.\u003c/p>\n\u003cp>\u003cem>Nov. 28–Dec. 25, 7pm. $15-$100. Info and tickets \u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://cltc.org/tickets/\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nCity Lights Theater Company\u003c/p>\n\u003cp>San Jose’s City Lights Theater Company has been finding all kinds of creative ways to keep active, as this solo performance of Charles Dickens’ \u003cem>A Christmas Carol\u003c/em> proves. Adapted and performed by prolific Bay Area actor and director Mark Anderson Phillips, this virtual tour de force will be mandatory viewing for those who enjoy their classics with a twist.\u003c/p>\n\u003cp>\u003cem>Dec. 15–Jan. 5, on demand. $10-$30 (or part of season pass). Info and tickets\u003ca href=\"https://cltc.org/tickets/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13889791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘A Christmas Carol’ at A.C.T. in 2018. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tradition, Tradition\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://secure.act-sf.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol: On Air\u003c/a>‘\u003c/strong>\u003cbr>\nAmerican Conservatory Theater\u003c/p>\n\u003cp>This beloved staple of Bay Area holiday tradition gets a socially distanced makeover in the form of a radio play adaptation, helmed by Peter J. Kuo (who also directed this summer’s successful Zoom production of\u003ca href=\"https://www.kqed.org/arts/13885920/alls-fair-game-in-love-and-warcraft\"> \u003cem>In Love and Warcraft\u003c/em>\u003c/a>). Starring the redoubtable James Carpenter as Ebenezer Scrooge, this tale of Christmas spirit(s) continues to stand the test of time and circumstance.\u003c/p>\n\u003cp>\u003cem>Dec. 4–31, 6pm listening parties and on demand. $40–$60. Info and tickets\u003ca href=\"https://secure.act-sf.org/events\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.koshercomedy.com\" rel=\"noopener noreferrer\" target=\"_blank\">28th Annual Kung Pao Kosher Comedy\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Buckle up \u003cem>bubbeleh\u003c/em>. While gathering in restaurants in person may still be out of the question, there’s nothing stopping you from ordering up a few plates of Chinese food and hanging out with Lisa Geduldig and friends for the 28th annual Kung Pao Kosher Comedy show—the Christmas show by and for Jews. Featuring the award-winning talents of Judy Gold and Alex Edelman, and optional participant breakout rooms for schmoozing.\u003c/p>\n\u003cp>\u003cem>Dec. 24–26, times vary. Livestream. $25-$50. Info and tickets \u003ca href=\"http://www.CityBoxOffice.com/KungPao\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Nutcracker Online\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Ballet\u003c/p>\n\u003cp>The first U.S. company to perform the “full” version of \u003cem>Nutcracker\u003c/em>, in 1944, the San Francisco Ballet hosts an annual, all-ages fantasia that attracts some 75,000 audience members per year. This year, sugar plum lovers will be able to view a classic performance choreographed by Helgi Tomasson, \u003ca href=\"https://video.kqed.org/video/great-performances-san-francisco-ballets-nutcracker-preview\">and filmed by KQED in 2007\u003c/a>. Features the luminous Yuan Yuan Tan as the Snow Queen.\u003c/p>\n\u003cp>\u003cem>Nov. 27–Dec. 31. $49 for 48-hour access. Info and tickets \u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13816058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg\" alt=\"Kitka does its annual 'Wintersongs' tour around the Bay Area\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitka does its annual ‘Wintersongs’ tour around the Bay Area. \u003ccite>(Photo: Tomas Pacha/Kitka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Winter Wonderland\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.kitka.org/wintersongs2020\" rel=\"noopener noreferrer\" target=\"_blank\">Wintersongs 2020\u003c/a>‘\u003c/strong>\u003cbr>\nKitka\u003c/p>\n\u003cp>Get into the fun tradition of counting down to Christmas with Kitka’s gift of \u003ca href=\"https://www.kqed.org/forum/2010101868688/live-performance-kitka-sings-wintersongs-of-eastern-europe\">Wintersong\u003c/a>. Each day until Dec. 31, this all-woman vocal ensemble—who specialize in excavating the traditional music of Eastern Europe and the Balkans—will release one new song online for all to enjoy, free of charge (donations accepted).\u003c/p>\n\u003cp>\u003cem>Through Dec. 31. Free. Info and songs \u003ca href=\"http://www.kitka.org/wintersongs2020\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://theatreworks.org/simplegifts/\" rel=\"noopener noreferrer\" target=\"_blank\">Simple Gifts\u003c/a>‘\u003c/strong>\u003cbr>\nTheatreWorks Silicon Valley\u003c/p>\n\u003cp>When Tim Bond took over the artistic leadership of TheatreWorks in July, he stepped into a season beset by unanticipated challenges from the pandemic shutdown of live theatre. With \u003cem>Simple Gifts\u003c/em>, he offers a welcome respite from the chaos, with a carefully chosen cast performing music from a diverse array of holiday traditions such as Kwanzaa, Christmas, Hanukkah, Noche Buena, Diwali and Las Posadas.\u003c/p>\n\u003cp>\u003cem>Dec. 10–28. Times vary. $10+. Info and tickets\u003ca href=\"https://theatreworks.org/simplegifts/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://manualcinema.com/christmascarol\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nManual Cinema\u003c/p>\n\u003cp>‘Tis the season to get Scrooged, and Manual Cinema’s original take on Dickens’ classic is poised to be one of this year’s most memorable. Created by Chicago-based Manual Cinema, who infuse their multimedia projects with elements of live performance, this daring adaptation includes shadow puppets, live actors, projections, immersive sound design and original music. Co-presented with Cal Performances for three nights (and other organizations from Dec. 3-20).\u003c/p>\n\u003cp>\u003cem>Dec. 17-19, times vary, livestream. Info and tickets\u003ca href=\"https://calperformances.org/events/2020-21/at-home/manual-cinema-a-christmas-carol/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Holiday traditions like 'Nutcracker' and 'A Christmas Carol' meet new, dynamic productions in our livestreamed theater roundup. ","status":"publish","parent":0,"modified":1705019786,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":39,"wordCount":1204},"headData":{"title":"The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation | KQED","description":"Holiday traditions like 'Nutcracker' and 'A Christmas Carol' meet new, dynamic productions in our livestreamed theater roundup. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation","datePublished":"2020-12-02T21:11:02.000Z","dateModified":"2024-01-12T00:36:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"},"authorsData":[{"type":"authors","id":"11497","meta":{"index":"authors_1591205172","id":"11497","found":true},"name":"Nicole Gluckstern","firstName":"Nicole","lastName":"Gluckstern","slug":"ngluckstern","email":"gluckstern.nicole@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":null,"avatar":"https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Nicole Gluckstern | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ngluckstern"}],"imageData":{"ogImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2020/11/TheatreWorks_SimpleGifts_photocredit_TheatreWorksSiliconValley-1020x697.jpg","width":1020,"height":697,"mimeType":"image/jpeg"},"twImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2020/11/TheatreWorks_SimpleGifts_photocredit_TheatreWorksSiliconValley-1020x697.jpg","width":1020,"height":697,"mimeType":"image/jpeg"},"twitterCard":"summary_large_image"},"tagData":{"tags":["American Conservatory Theater","brian copeland","Cal Performances","christmas","dance","featured-arts","holidays","theatreworks silicon valley","thedolist"]}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13889729/the-12-plays-of-christmas-or-how-to-spend-your-winter-vacation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rejoice, rejoice. While being home for the holidays might seem like a redundant concept this year, you don’t have to spend them in total isolation. Here are 12 ways to give yourself the gift of a little escapist pleasure at the end of this unprecedented year while supporting the Bay Area’s heavily impacted performing arts.\u003c/p>\n\u003cfigure id=\"attachment_13889792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac gets saucy with the holidays. \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Don We Now Our Gay Apparel\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">Holiday Sauce…Pandemic!\u003c/a>‘\u003c/strong>\u003cbr>\nCurran Theatre \u003c/p>\n\u003cp>Fans of full-spectrum spectacle need look no further than the works of MacArthur Fellow Taylor Mac, whose shows embody an expansive vision of queer abundance (and abundant queers). A regular visitor to the Bay Area, Mac first presented \u003cem>Holiday Sauce\u003c/em> on the Curran stage in 2018, a sumptuous romp through holiday memories and songs. All proceeds of this year’s virtual offering will go to \u003ca href=\"http://www.openhousesf.org\">Openhouse\u003c/a>, a local community resource for LGBTQ+ seniors.\u003c/p>\n\u003cp>\u003cem>Livestream Dec. 12 at 7pm only. On demand until Jan. 2. $10. Info and tickets\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Girls LIVE: Christmas Episodes\u003c/a>‘\u003c/strong>\u003cbr>\nSF Oasis\u003c/p>\n\u003cp>A beloved San Francisco holiday tradition, \u003cem>Golden Girls LIVE: Christmas Episodes\u003c/em> offers nostalgia, drag hilarity, and genuine heart all wrapped up in a Betty White-channeling bow. Co-starring Heklina (Dorothy), Matthew Martin (Blanche), D’Arcy Drollinger (Rose) and Holotta Tymes (Sophia) as our quirky quartet, this year’s episodes will be streamed live from SF Oasis headquarters, complete with a virtual sing-along and VIP meet-and-greet with the cast.\u003c/p>\n\u003cp>\u003cem>Dec. 17-20, times vary. $30-$50. Info and tickets \u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>‘\u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>A Mighty Queer Virtual Variety Show\u003c/strong>\u003c/a>‘\u003cbr>\nNew Conservatory Theatre Center\u003c/p>\n\u003cp>Poets, performance artists, drag stars and circus acts alike appear on the New Conservatory Theatre Center’s virtual stage. Wrangled by Epic Party Theatre’s Richard A. Mosqueda, and hosted by operatic drag diva Dusty Pörn, this festive holiday sampler will fill you with holiday cheer. With Azuah, SevanKelee Lucky 7 Boult, Baruch Porras Hernandez, SNJV, and aerialist Joey The Tiger.\u003c/p>\n\u003cp>\u003cem>Dec. 13–Jan. 3, on demand. $10-$40. Info and tickets \u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13889789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santa Claus (Glen Micheletti) is here to save Christmas for you. \u003ccite>(JW Darwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Home Alone\u003c/h2>\n\u003cp>\u003ca href=\"http://www.getsantaclaus.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Get Santa Claus\u003c/strong>\u003c/a>\u003cbr>\nGlen A. Micheletti\u003c/p>\n\u003cp>Worried about how the kiddies are going to get Santa their wishlist this year? Let expert magician and professional Santa Claus Glen A. Micheletti help. Like so many other performers, Santa Glen has developed ways to bring his act online, and offers personalized virtual visits for individual family units, large family “gatherings” and company ho-ho-holiday parties.\u003c/p>\n\u003cp>\u003cem>Rates start at $150 for one screen. Custom pricing and packages available for groups. Info and bookings\u003ca href=\"http://www.getsantaclaus.com\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Jewelry Box\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Playhouse\u003c/p>\n\u003cp>If you’re one of the thousands of Bay Area denizens who’ve seen Brian Copeland’s \u003cem>Not a Genuine Black Man\u003c/em>, this holiday prequel is for you. A richly detailed portrait of Oakland city life as seen through the eyes of a six-year-old child on a quest to earn the perfect Christmas gift for his mother. Copeland’s performance is filmed live onstage at San Francisco Playhouse, and streamed on demand through Christmas Day.\u003c/p>\n\u003cp>\u003cem>Nov. 28–Dec. 25, 7pm. $15-$100. Info and tickets \u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://cltc.org/tickets/\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nCity Lights Theater Company\u003c/p>\n\u003cp>San Jose’s City Lights Theater Company has been finding all kinds of creative ways to keep active, as this solo performance of Charles Dickens’ \u003cem>A Christmas Carol\u003c/em> proves. Adapted and performed by prolific Bay Area actor and director Mark Anderson Phillips, this virtual tour de force will be mandatory viewing for those who enjoy their classics with a twist.\u003c/p>\n\u003cp>\u003cem>Dec. 15–Jan. 5, on demand. $10-$30 (or part of season pass). Info and tickets\u003ca href=\"https://cltc.org/tickets/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13889791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘A Christmas Carol’ at A.C.T. in 2018. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tradition, Tradition\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://secure.act-sf.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol: On Air\u003c/a>‘\u003c/strong>\u003cbr>\nAmerican Conservatory Theater\u003c/p>\n\u003cp>This beloved staple of Bay Area holiday tradition gets a socially distanced makeover in the form of a radio play adaptation, helmed by Peter J. Kuo (who also directed this summer’s successful Zoom production of\u003ca href=\"https://www.kqed.org/arts/13885920/alls-fair-game-in-love-and-warcraft\"> \u003cem>In Love and Warcraft\u003c/em>\u003c/a>). Starring the redoubtable James Carpenter as Ebenezer Scrooge, this tale of Christmas spirit(s) continues to stand the test of time and circumstance.\u003c/p>\n\u003cp>\u003cem>Dec. 4–31, 6pm listening parties and on demand. $40–$60. Info and tickets\u003ca href=\"https://secure.act-sf.org/events\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.koshercomedy.com\" rel=\"noopener noreferrer\" target=\"_blank\">28th Annual Kung Pao Kosher Comedy\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Buckle up \u003cem>bubbeleh\u003c/em>. While gathering in restaurants in person may still be out of the question, there’s nothing stopping you from ordering up a few plates of Chinese food and hanging out with Lisa Geduldig and friends for the 28th annual Kung Pao Kosher Comedy show—the Christmas show by and for Jews. Featuring the award-winning talents of Judy Gold and Alex Edelman, and optional participant breakout rooms for schmoozing.\u003c/p>\n\u003cp>\u003cem>Dec. 24–26, times vary. Livestream. $25-$50. Info and tickets \u003ca href=\"http://www.CityBoxOffice.com/KungPao\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Nutcracker Online\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Ballet\u003c/p>\n\u003cp>The first U.S. company to perform the “full” version of \u003cem>Nutcracker\u003c/em>, in 1944, the San Francisco Ballet hosts an annual, all-ages fantasia that attracts some 75,000 audience members per year. This year, sugar plum lovers will be able to view a classic performance choreographed by Helgi Tomasson, \u003ca href=\"https://video.kqed.org/video/great-performances-san-francisco-ballets-nutcracker-preview\">and filmed by KQED in 2007\u003c/a>. Features the luminous Yuan Yuan Tan as the Snow Queen.\u003c/p>\n\u003cp>\u003cem>Nov. 27–Dec. 31. $49 for 48-hour access. Info and tickets \u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13816058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg\" alt=\"Kitka does its annual 'Wintersongs' tour around the Bay Area\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitka does its annual ‘Wintersongs’ tour around the Bay Area. \u003ccite>(Photo: Tomas Pacha/Kitka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Winter Wonderland\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.kitka.org/wintersongs2020\" rel=\"noopener noreferrer\" target=\"_blank\">Wintersongs 2020\u003c/a>‘\u003c/strong>\u003cbr>\nKitka\u003c/p>\n\u003cp>Get into the fun tradition of counting down to Christmas with Kitka’s gift of \u003ca href=\"https://www.kqed.org/forum/2010101868688/live-performance-kitka-sings-wintersongs-of-eastern-europe\">Wintersong\u003c/a>. Each day until Dec. 31, this all-woman vocal ensemble—who specialize in excavating the traditional music of Eastern Europe and the Balkans—will release one new song online for all to enjoy, free of charge (donations accepted).\u003c/p>\n\u003cp>\u003cem>Through Dec. 31. Free. Info and songs \u003ca href=\"http://www.kitka.org/wintersongs2020\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://theatreworks.org/simplegifts/\" rel=\"noopener noreferrer\" target=\"_blank\">Simple Gifts\u003c/a>‘\u003c/strong>\u003cbr>\nTheatreWorks Silicon Valley\u003c/p>\n\u003cp>When Tim Bond took over the artistic leadership of TheatreWorks in July, he stepped into a season beset by unanticipated challenges from the pandemic shutdown of live theatre. With \u003cem>Simple Gifts\u003c/em>, he offers a welcome respite from the chaos, with a carefully chosen cast performing music from a diverse array of holiday traditions such as Kwanzaa, Christmas, Hanukkah, Noche Buena, Diwali and Las Posadas.\u003c/p>\n\u003cp>\u003cem>Dec. 10–28. Times vary. $10+. Info and tickets\u003ca href=\"https://theatreworks.org/simplegifts/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://manualcinema.com/christmascarol\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nManual Cinema\u003c/p>\n\u003cp>‘Tis the season to get Scrooged, and Manual Cinema’s original take on Dickens’ classic is poised to be one of this year’s most memorable. Created by Chicago-based Manual Cinema, who infuse their multimedia projects with elements of live performance, this daring adaptation includes shadow puppets, live actors, projections, immersive sound design and original music. Co-presented with Cal Performances for three nights (and other organizations from Dec. 3-20).\u003c/p>\n\u003cp>\u003cem>Dec. 17-19, times vary, livestream. Info and tickets\u003ca href=\"https://calperformances.org/events/2020-21/at-home/manual-cinema-a-christmas-carol/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889729/the-12-plays-of-christmas-or-how-to-spend-your-winter-vacation","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_967"],"tags":["arts_1175","arts_4925","arts_2435","arts_3388","arts_879","arts_10278","arts_3247","arts_1815","arts_585"],"featImg":"arts_13889790","label":"arts_140","isLoading":false,"hasAllInfo":true}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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