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"content": "\u003cp>\u003ca href=\"https://www.ussoccer.com/competitions/uswnt-friendlies-2026/matches/united-states-japan-california-tickets-live-score-match-hub-lineups-highlights\">The U.S. Women’s National Soccer Team\u003c/a> will face the Japan Women’s National team during a friendly match in San José this Saturday. This weekend’s bout will be the first of three games between the two squads, with Seattle and Denver hosting subsequent exhibitions next week.\u003c/p>\n\u003cp>While all three competitions are technically home games for the U.S., the San José match is a meaningful return to her roots for the team’s highly decorated defensive phenom, \u003ca href=\"https://www.ussoccer.com/players/g/naomi-girma\">Naomi Girma\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m excited,” says Girma, a proud San José representative.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13988413\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-scaled.jpg\" alt=\"A candid photo of a woman in a team USA soccer jersey. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Girma looks on during the SheBelieves Cup match against Colombia. \u003ccite>(Stephen Nadler/ISI Photos/USSF/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">While Japan will undoubtably bring a healthy competition, Girma is anticipating the home crowd. \u003c/span>\u003cspan style=\"font-weight: 400\">“I love playing in San José,” she says. “It’s just fun to be in front of family and friends, and to get to see so many people after the game.”\u003c/span>\u003c/p>\n\u003cp>Born and raised in the South Bay, Girma also attended Stanford University, where she helped lead the Cardinals to the 2019 NCAA National Championship. A sophomore at the time, Girma helped cement the title win with her standout defense and a penalty kick goal in the final match against the University of North Carolina.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2022, the newly established San Diego Wave FC selected Girma as the number one overall pick in the NWSL Draft. Girma balled out and helped lead the team to a playoff birth in its first year, winning both \u003ca href=\"https://www.nwslsoccer.com/news/san-diego-wave-fc-defender-naomi-girma-named-2022-nwsl-rookie-of-the-year-presented-by-ally\">NWSL Rookie of the Year and NWSL Defender of the Year\u003c/a>.\u003c/p>\n\u003cp>As Girma got deeper into her professional career the accolades continued to flow. She was named the\u003ca href=\"https://www.espn.com/soccer/story/_/id/39287411/usa-female-player-year-girma-1st-defender-win-award\"> U.S. Soccer Female Player of the Year in 2023,\u003c/a> and in 2024 she played every minute of Team USA’s matches in the Paris Olympics, which resulted in the squad winning a gold medal.\u003c/p>\n\u003cp>In January of 2025, England’s Women’s Super League club \u003ca href=\"https://www.bbc.com/sport/football/articles/cvgm47e0pdjo\">Chelsea FC signed Girma to a multi-year deal\u003c/a>. The transfer fee Chelsea paid the Wave was reportedly $1.1 million (£890,000), making Girma \u003ca href=\"https://www.npr.org/2025/01/23/nx-s1-5270776/naomi-girma-makes-soccer-history-with-chelsea-transfer\">the first women’s player to have a contract sold for over $1 million.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13988414\" class=\"wp-caption aligncenter\" style=\"max-width: 1767px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-scaled.jpg\" alt=\"A young girl in a red soccer jersey, posing for a photo while holding a soccer ball. \" width=\"1767\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-scaled.jpg 1767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-768x1113.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-1060x1536.jpg 1060w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-1413x2048.jpg 1413w\" sizes=\"auto, (max-width: 1767px) 100vw, 1767px\">\u003cfigcaption class=\"wp-caption-text\">A young Naomi Girma, who has played soccer competitively since she was a child growing up in San José. \u003ccite>(U.S. Soccer/Getty Images.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most decorated professional athletes of the past decade, Girma got her start playing soccer on Saturdays in the South Bay.\u003c/p>\n\u003cp>“I started playing with \u003ca href=\"https://www.maledasj.com/\">Maleda\u003c/a>,” says Girma, referring to the youth soccer club in San José. Her father, a soccer player as well, started the organization. Made for soccer, the team also built community. \u003cspan style=\"font-weight: 400\">“It was just for Ethiopian families to come together,” Girma reflects, noting that as a young girl she was fiercely competitive. “But I also had a lot of fun.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She spent Saturdays playing at different parks throughout the area. With the guidance of her father (who also coached), support from her mother and mentorship from her older brother, she found her way.\u003c/span>\u003c/p>\n\u003cp>Recreation soon turned to dedicated sport, as the young Girma later joined a regional club soccer team. “Then,” she says, “[soccer] just became a very big part of my life.” Her commitment changed her schedule. She went from one game on the weekend to multiple games each week and traveling for tournaments. She played other sports as well, namely basketball, but by the time she hit high school, soccer became her one big thing. And as she locked in, it payed dividends.\u003c/p>\n\u003cp>“It definitely feels surreal sometimes,” Girma reflects, addressing her own success, grateful for everything her family has done to push her along the way.\u003c/p>\n\u003cp>“As a child of immigrants,” she says, “you can see firsthand how different your childhood was from your parents. And I think that’s something that makes you try not to take anything for granted.”\u003c/p>\n\u003cp>Even before she was born, Girma says, her parents were making sacrifices for her, and that has continued through her journey as an athlete. “They’ve instilled so many values and qualities in me that I think have helped me,” the 25-year-old soccer star says. She pinpoints how her parents exemplified discipline and work ethic, as well as perseverance and resilience. “No matter what I was doing,” Girma says, “those are definitely key things that make me who I am, and also have made me a good soccer player.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ZGJZOa4mb0\u003c/p>\n\u003cp>A South Bay kid through and through, Girma relishes the diversity the region offers. Beyond being the home base to some of the world’s largest tech companies, San José’s rich cultural tapestry exposed a young Girma to various cuisines and varieties of music.\u003c/p>\n\u003cp>“San José is typically just seen as a \u003ca href=\"https://www.kqed.org/siliconvalleyunseen/\">part of Silicon Valley\u003c/a>,” she says. “But from the inside, you know how many different cultures there are here, and how many communities there are.”\u003c/p>\n\u003cp>But it wasn’t until Girma was drafted and moved to San Diego did she fully put it in context. “I appreciated it more when I left and then came back,” she says. “There’s just something about the Bay that is really special,” says Girma, noting the “different pockets” that exists here. “I feel like there’s really no other place like it.”\u003c/p>\n\u003cp>[aside postID=news_12076503 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/IMG_1406-2000x1500.jpg']\u003c/p>\n\u003cp>Girma’s professional rise parallels soccer’s growth as of late, particularly in the U.S., and especially here in the Bay Area.\u003c/p>\n\u003cp>While California is a hub for soccer, with college teams and the club system being long established, the sport is growing professionally too. Girma literally played a part in the expansion of the NWSL and changed the value of trading a player across international leagues. And she’s seeing the sport continue to grow in popularity, especially on the women’s side.\u003c/p>\n\u003cp>Her point is evidenced by the establishment of the San José-based club, Bay FC, which as founded in 2023 and played its first game the following year. They join other regional clubs like the Oakland Roots and Oakland Soul, as well as the Monterey Bay FC, San Francisco City FC and the San Jose Earthquakes, which played their inaugural season 30 years ago under the name San Jose Clash.\u003c/p>\n\u003cp>Last fall, a barge carrying \u003ca href=\"https://www.youtube.com/shorts/mU8tRTGyQxg\">a huge floating soccer pitch\u003c/a> was anchored near San Francisco’s Pier 50, as the National Women’s Soccer League celebrated its championship week.\u003c/p>\n\u003cp>And later this year, the \u003ca href=\"https://www.fifa.com/en/tournaments/mens/worldcup/canadamexicousa2026\">2026 FIFA World Cup\u003c/a> will bring a series of matches to venues across North America, including Santa Clara’s Levi’s Stadium.\u003c/p>\n\u003cp>“I feel like this summer will be a big moment to have a lot of eyes on [soccer] in this country,” predicts Girma. She mentions the NWSL’s latest expansion teams, Boston Legacy FC and Denver Summit FC, and says the growth is continuing. “I hope that the same will happen on the men’s side too,” she adds.\u003c/p>\n\u003cp>As the game expands, and more young soccer stars develop on the fields around the Bay Area and beyond, Girma offers a bit of advice for footballers looking to turn their passion into a career.\u003c/p>\n\u003cp>“Run your own race,” she says, quoting a mentor of hers. People grow at different rates, so there’s no sense in comparing yourself to another person. “Some people peak earlier,” Girma says, noting how some might get calls from national teams or move ahead at a younger age. “Just focus on yourself, and you’ll get to where you wanna go.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Naomi Girma and the U.S. Women’s National Soccer Team face the Japan Women’s National team on Saturday, April 11, at 2:30 p.m. at PayPal Park in San José. For tickets and information, \u003ca href=\"https://www.ussoccer.com/competitions/uswnt-friendlies-2026/matches/united-states-japan-california-tickets-live-score-match-hub-lineups-highlights\">check here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.ussoccer.com/competitions/uswnt-friendlies-2026/matches/united-states-japan-california-tickets-live-score-match-hub-lineups-highlights\">The U.S. Women’s National Soccer Team\u003c/a> will face the Japan Women’s National team during a friendly match in San José this Saturday. This weekend’s bout will be the first of three games between the two squads, with Seattle and Denver hosting subsequent exhibitions next week.\u003c/p>\n\u003cp>While all three competitions are technically home games for the U.S., the San José match is a meaningful return to her roots for the team’s highly decorated defensive phenom, \u003ca href=\"https://www.ussoccer.com/players/g/naomi-girma\">Naomi Girma\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m excited,” says Girma, a proud San José representative.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13988413\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-scaled.jpg\" alt=\"A candid photo of a woman in a team USA soccer jersey. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Girma looks on during the SheBelieves Cup match against Colombia. \u003ccite>(Stephen Nadler/ISI Photos/USSF/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">While Japan will undoubtably bring a healthy competition, Girma is anticipating the home crowd. \u003c/span>\u003cspan style=\"font-weight: 400\">“I love playing in San José,” she says. “It’s just fun to be in front of family and friends, and to get to see so many people after the game.”\u003c/span>\u003c/p>\n\u003cp>Born and raised in the South Bay, Girma also attended Stanford University, where she helped lead the Cardinals to the 2019 NCAA National Championship. A sophomore at the time, Girma helped cement the title win with her standout defense and a penalty kick goal in the final match against the University of North Carolina.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2022, the newly established San Diego Wave FC selected Girma as the number one overall pick in the NWSL Draft. Girma balled out and helped lead the team to a playoff birth in its first year, winning both \u003ca href=\"https://www.nwslsoccer.com/news/san-diego-wave-fc-defender-naomi-girma-named-2022-nwsl-rookie-of-the-year-presented-by-ally\">NWSL Rookie of the Year and NWSL Defender of the Year\u003c/a>.\u003c/p>\n\u003cp>As Girma got deeper into her professional career the accolades continued to flow. She was named the\u003ca href=\"https://www.espn.com/soccer/story/_/id/39287411/usa-female-player-year-girma-1st-defender-win-award\"> U.S. Soccer Female Player of the Year in 2023,\u003c/a> and in 2024 she played every minute of Team USA’s matches in the Paris Olympics, which resulted in the squad winning a gold medal.\u003c/p>\n\u003cp>In January of 2025, England’s Women’s Super League club \u003ca href=\"https://www.bbc.com/sport/football/articles/cvgm47e0pdjo\">Chelsea FC signed Girma to a multi-year deal\u003c/a>. The transfer fee Chelsea paid the Wave was reportedly $1.1 million (£890,000), making Girma \u003ca href=\"https://www.npr.org/2025/01/23/nx-s1-5270776/naomi-girma-makes-soccer-history-with-chelsea-transfer\">the first women’s player to have a contract sold for over $1 million.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13988414\" class=\"wp-caption aligncenter\" style=\"max-width: 1767px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-scaled.jpg\" alt=\"A young girl in a red soccer jersey, posing for a photo while holding a soccer ball. \" width=\"1767\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-scaled.jpg 1767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-768x1113.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-1060x1536.jpg 1060w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-1413x2048.jpg 1413w\" sizes=\"auto, (max-width: 1767px) 100vw, 1767px\">\u003cfigcaption class=\"wp-caption-text\">A young Naomi Girma, who has played soccer competitively since she was a child growing up in San José. \u003ccite>(U.S. Soccer/Getty Images.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most decorated professional athletes of the past decade, Girma got her start playing soccer on Saturdays in the South Bay.\u003c/p>\n\u003cp>“I started playing with \u003ca href=\"https://www.maledasj.com/\">Maleda\u003c/a>,” says Girma, referring to the youth soccer club in San José. Her father, a soccer player as well, started the organization. Made for soccer, the team also built community. \u003cspan style=\"font-weight: 400\">“It was just for Ethiopian families to come together,” Girma reflects, noting that as a young girl she was fiercely competitive. “But I also had a lot of fun.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She spent Saturdays playing at different parks throughout the area. With the guidance of her father (who also coached), support from her mother and mentorship from her older brother, she found her way.\u003c/span>\u003c/p>\n\u003cp>Recreation soon turned to dedicated sport, as the young Girma later joined a regional club soccer team. “Then,” she says, “[soccer] just became a very big part of my life.” Her commitment changed her schedule. She went from one game on the weekend to multiple games each week and traveling for tournaments. She played other sports as well, namely basketball, but by the time she hit high school, soccer became her one big thing. And as she locked in, it payed dividends.\u003c/p>\n\u003cp>“It definitely feels surreal sometimes,” Girma reflects, addressing her own success, grateful for everything her family has done to push her along the way.\u003c/p>\n\u003cp>“As a child of immigrants,” she says, “you can see firsthand how different your childhood was from your parents. And I think that’s something that makes you try not to take anything for granted.”\u003c/p>\n\u003cp>Even before she was born, Girma says, her parents were making sacrifices for her, and that has continued through her journey as an athlete. “They’ve instilled so many values and qualities in me that I think have helped me,” the 25-year-old soccer star says. She pinpoints how her parents exemplified discipline and work ethic, as well as perseverance and resilience. “No matter what I was doing,” Girma says, “those are definitely key things that make me who I am, and also have made me a good soccer player.”\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/5ZGJZOa4mb0'\n title='//www.youtube.com/embed/5ZGJZOa4mb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A South Bay kid through and through, Girma relishes the diversity the region offers. Beyond being the home base to some of the world’s largest tech companies, San José’s rich cultural tapestry exposed a young Girma to various cuisines and varieties of music.\u003c/p>\n\u003cp>“San José is typically just seen as a \u003ca href=\"https://www.kqed.org/siliconvalleyunseen/\">part of Silicon Valley\u003c/a>,” she says. “But from the inside, you know how many different cultures there are here, and how many communities there are.”\u003c/p>\n\u003cp>But it wasn’t until Girma was drafted and moved to San Diego did she fully put it in context. “I appreciated it more when I left and then came back,” she says. “There’s just something about the Bay that is really special,” says Girma, noting the “different pockets” that exists here. “I feel like there’s really no other place like it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Girma’s professional rise parallels soccer’s growth as of late, particularly in the U.S., and especially here in the Bay Area.\u003c/p>\n\u003cp>While California is a hub for soccer, with college teams and the club system being long established, the sport is growing professionally too. Girma literally played a part in the expansion of the NWSL and changed the value of trading a player across international leagues. And she’s seeing the sport continue to grow in popularity, especially on the women’s side.\u003c/p>\n\u003cp>Her point is evidenced by the establishment of the San José-based club, Bay FC, which as founded in 2023 and played its first game the following year. They join other regional clubs like the Oakland Roots and Oakland Soul, as well as the Monterey Bay FC, San Francisco City FC and the San Jose Earthquakes, which played their inaugural season 30 years ago under the name San Jose Clash.\u003c/p>\n\u003cp>Last fall, a barge carrying \u003ca href=\"https://www.youtube.com/shorts/mU8tRTGyQxg\">a huge floating soccer pitch\u003c/a> was anchored near San Francisco’s Pier 50, as the National Women’s Soccer League celebrated its championship week.\u003c/p>\n\u003cp>And later this year, the \u003ca href=\"https://www.fifa.com/en/tournaments/mens/worldcup/canadamexicousa2026\">2026 FIFA World Cup\u003c/a> will bring a series of matches to venues across North America, including Santa Clara’s Levi’s Stadium.\u003c/p>\n\u003cp>“I feel like this summer will be a big moment to have a lot of eyes on [soccer] in this country,” predicts Girma. She mentions the NWSL’s latest expansion teams, Boston Legacy FC and Denver Summit FC, and says the growth is continuing. “I hope that the same will happen on the men’s side too,” she adds.\u003c/p>\n\u003cp>As the game expands, and more young soccer stars develop on the fields around the Bay Area and beyond, Girma offers a bit of advice for footballers looking to turn their passion into a career.\u003c/p>\n\u003cp>“Run your own race,” she says, quoting a mentor of hers. People grow at different rates, so there’s no sense in comparing yourself to another person. “Some people peak earlier,” Girma says, noting how some might get calls from national teams or move ahead at a younger age. “Just focus on yourself, and you’ll get to where you wanna go.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Naomi Girma and the U.S. Women’s National Soccer Team face the Japan Women’s National team on Saturday, April 11, at 2:30 p.m. at PayPal Park in San José. For tickets and information, \u003ca href=\"https://www.ussoccer.com/competitions/uswnt-friendlies-2026/matches/united-states-japan-california-tickets-live-score-match-hub-lineups-highlights\">check here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"https://www.sterngrove.org/\">Stern Grove Festival\u003c/a> returns on June 14 for its 89th summer of free music, kicking off with a concert by Indian psychedelic indie band Peter Cat Recording Co., with an opening set by San Francisco’s own Marinero.\u003c/p>\n\u003cp>The festival continues on Sundays through August, bringing 10,000 fans each week to the eucalyptus-lined amphitheater of Sigmund Stern Grove. The lineup features all-time musical greats, buzzy bands and rising local acts like. The Big Picnic, Stern Grove’s closing weekend, will include headlining sets from Public Enemy on Aug. 15 and Al Green on Aug. 16, with support from the GLIDE ensemble and Oakland R&B star Goapele.\u003c/p>\n\u003cp>Other Stern Grove highlights include the highly danceable Colombian electronic pop band Bomba Estéreo on June 21; cult favorite singer-songwriter Japanese Breakfast on June 28; and DJ crew Major Lazer with Richmond rapper Fijiana on July 5.\u003c/p>\n\u003cp>Stern Grove continues with Charley Crockett and Nicki Bluhm on July 19; Suki Waterhouse on July 26; Violent Femmes and Tune-Yards on Aug. 2; and Patti LaBelle and Destini Wolf on Aug. 9.\u003c/p>\n\u003cp>Although Stern Grove is free, fans must secure tickets through a \u003ca href=\"https://www.sterngrove.org/galotterytickets\">lottery system\u003c/a>. The lottery opens six weeks before each show, and fans have a week to enter to win up to four tickets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"https://www.sterngrove.org/\">Stern Grove Festival\u003c/a> returns on June 14 for its 89th summer of free music, kicking off with a concert by Indian psychedelic indie band Peter Cat Recording Co., with an opening set by San Francisco’s own Marinero.\u003c/p>\n\u003cp>The festival continues on Sundays through August, bringing 10,000 fans each week to the eucalyptus-lined amphitheater of Sigmund Stern Grove. The lineup features all-time musical greats, buzzy bands and rising local acts like. The Big Picnic, Stern Grove’s closing weekend, will include headlining sets from Public Enemy on Aug. 15 and Al Green on Aug. 16, with support from the GLIDE ensemble and Oakland R&B star Goapele.\u003c/p>\n\u003cp>Other Stern Grove highlights include the highly danceable Colombian electronic pop band Bomba Estéreo on June 21; cult favorite singer-songwriter Japanese Breakfast on June 28; and DJ crew Major Lazer with Richmond rapper Fijiana on July 5.\u003c/p>\n\u003cp>Stern Grove continues with Charley Crockett and Nicki Bluhm on July 19; Suki Waterhouse on July 26; Violent Femmes and Tune-Yards on Aug. 2; and Patti LaBelle and Destini Wolf on Aug. 9.\u003c/p>\n\u003cp>Although Stern Grove is free, fans must secure tickets through a \u003ca href=\"https://www.sterngrove.org/galotterytickets\">lottery system\u003c/a>. The lottery opens six weeks before each show, and fans have a week to enter to win up to four tickets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>An Oakland-born dancer, choreographer and Bay Area ballroom star has been hospitalized following a cardiac arrest caused by a rare heart condition. Gbari “GQ” Gilliam suffers from hypertrophic cardiomyopathy, which causes the heart muscle to thicken, limiting or preventing blood flow. As a result, the 32-year-old now needs a heart transplant.\u003c/p>\n\u003cp>Gilliam is currently in the intensive care unit of Los Angeles’ Cedars-Sinai Medical Center after collapsing during a dance rehearsal on March 27. The former Berkeley High student originally moved to Los Angeles to study at UCLA, graduating in 2016. Since then, Gilliam has remained in Southern California. He has performed on \u003cem>Jimmy Kimmel Live!\u003c/em>, worked with Tyler Perry Studios and appeared in short films.\u003c/p>\n\u003cp>[aside postid='arts_13988106']Gilliam’s mother Tuseda Graggs-Borden, who is based in San Francisco, believes her son’s life was saved by a nurse who just happened to be passing the dance studio at the time of his collapse. According to news reports, when the nurse saw Gilliam’s panicked friends, she stepped up to assist them, performed CPR on him and assisted paramedics as they rushed Gilliam to the hospital. The identity of the nurse remains a mystery.\u003c/p>\n\u003cp>Gilliam has been sustained ever since by an extracorporeal membrane oxygenation (ECMO) machine that acts as an artificial heart and lung. He is under heavy sedation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gofundme.com/f/help-gbari-gilliam-recover-after-cardiac-arrest\">A GoFundMe campaign\u003c/a> to help cover Gilliam’s considerable medical and family expenses has been set up by his aunt, Perginia Shank. So far, almost 4,000 donors have stepped up, raising more than $250,000 of a $500,000 goal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Gbari has been a staple not just in my life, but in so many different communities,” Gilliam’s girlfriend and dance partner Shantel Ureña told NBC4 News. “He’s like the person that you go to when you need someone to talk to, when you need someone to lean on. Because he’s poured so much into other people, it’s really beautiful to see other people pouring it back into him in this moment.”\u003c/p>\n\u003cp>For now, Gilliam’s friends and family are doing their best to stay optimistic about his future. His mom Tuseda Graggs-Borden told NBC4, “I just believe that he’s going to be back out there, dancing his heart out, being that light.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/oaklandtoall/\">The GQ Ball: House and Waacking battles + Mini Ball\u003c/a> will take place on April 18, 2026 at \u003ca href=\"https://fluid510.com/\">Fluid510\u003c/a> (1544 Broadway) in Oakland. All proceeds raised will go to Gilliam’s GoFundMe.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gilliam’s mother Tuseda Graggs-Borden, who is based in San Francisco, believes her son’s life was saved by a nurse who just happened to be passing the dance studio at the time of his collapse. According to news reports, when the nurse saw Gilliam’s panicked friends, she stepped up to assist them, performed CPR on him and assisted paramedics as they rushed Gilliam to the hospital. The identity of the nurse remains a mystery.\u003c/p>\n\u003cp>Gilliam has been sustained ever since by an extracorporeal membrane oxygenation (ECMO) machine that acts as an artificial heart and lung. He is under heavy sedation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gofundme.com/f/help-gbari-gilliam-recover-after-cardiac-arrest\">A GoFundMe campaign\u003c/a> to help cover Gilliam’s considerable medical and family expenses has been set up by his aunt, Perginia Shank. So far, almost 4,000 donors have stepped up, raising more than $250,000 of a $500,000 goal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Gbari has been a staple not just in my life, but in so many different communities,” Gilliam’s girlfriend and dance partner Shantel Ureña told NBC4 News. “He’s like the person that you go to when you need someone to talk to, when you need someone to lean on. Because he’s poured so much into other people, it’s really beautiful to see other people pouring it back into him in this moment.”\u003c/p>\n\u003cp>For now, Gilliam’s friends and family are doing their best to stay optimistic about his future. His mom Tuseda Graggs-Borden told NBC4, “I just believe that he’s going to be back out there, dancing his heart out, being that light.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/oaklandtoall/\">The GQ Ball: House and Waacking battles + Mini Ball\u003c/a> will take place on April 18, 2026 at \u003ca href=\"https://fluid510.com/\">Fluid510\u003c/a> (1544 Broadway) in Oakland. All proceeds raised will go to Gilliam’s GoFundMe.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I was once told that one of the loneliest places in the world is the waiting room in a women’s prison. For a few hours on Saturday, March 28, the large crowd that filed into the Central California Women’s Facility (CCWF) in Chowchilla defied that notion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg\" alt=\"\" width=\"180\" height=\"207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\">A small handful of visitors weren’t there for the day’s big event, but for regular visiting hours. A mother holding a baby in a shirt that read “Just served nine months in the womb.” An older woman going through security and removing items from her coat pocket, who told the guard she wished her daughter were part of the day’s activities.\u003c/p>\n\u003cp>And a middle-aged man covered in tattoos, who while walking through the metal detector asked a security guard: why are all these other people in the waiting room?\u003c/p>\n\u003cp>“They’re here for the \u003ca href=\"https://www.sanquentinfilmfestival.com/\">San Quentin Film Festival\u003c/a>,” she responded.\u003c/p>\n\u003cfigure id=\"attachment_13988084\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988084 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Untitled.jpg\" alt='W. Kamau Bell hosts a panel discussion with Abby Pierce, Tiffany \"Tiny\" Cruz, Oscar Rodriguez, Steven Raven Liang and Antwan Banks Williams at the San Quentin Film Festival at CCWF. ' width=\"2000\" height=\"1485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Untitled.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Untitled-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Untitled-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Untitled-1536x1140.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell hosts a panel discussion with Abby Pierce, Tiffany “Tiny” Cruz, Oscar Rodriguez, Steven Raven Liang and Antwan Banks Williams during the San Quentin Film Festival at the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cinephiles, photographers, professors and podcasters had all arrived in Chowchilla for the first-ever film festival held inside of a women’s prison in California. The daytime event showcased stories that centered the criminal justice system and explored concepts of love, freedom, health and healing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Dde2Cmvj904\">Processing\u003c/a>\u003c/em>, a short film by \u003ca href=\"https://www.antwanbanksphotography.com/\">Antwan Banks Williams\u003c/a>, combined audio interviews of incarcerated women with an intense scripted therapy session and opulent dance scenes, pairing uncomfortable truths with elegant body movements.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.stevenliang.com/oscars-return\">Oscar’s Return\u003c/a>\u003c/em>, an award-winning short documentary by \u003ca href=\"https://www.stevenliang.com/\">Steven Raven Liang\u003c/a>, chronicled the experience of Oscar Rodriguez, a man who returned home after spending 25 years behind bars. Despite finding his passion as a dog trainer, he still had to learn to deal with people in the outside world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" title=\"vimeo-player\" src=\"https://player.vimeo.com/video/1129531106?h=82605106f5\" width=\"640\" height=\"360\" frameborder=\"0\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://www.soboomfilm.com/\">So, Boom\u003c/a>\u003c/em>, a dramatic and hilarious narrative film by \u003ca href=\"https://www.instagram.com/tinyyydrama/\">Tiffany “Tiny” Cruz\u003c/a> and \u003ca href=\"https://www.instagram.com/plainoldabby/\">Abby Pierce\u003c/a>, a character named Sweet Tea gives prison survival tips to her younger sister, who is soon set to turn herself in to the authorities. Sweet Tea shows her sister how to make a meal with the materials she’s issued, and advises her not to take favors from anyone, because they come with a price. In one scene, Sweet Tea demonstrates how makeup can be made from Kool-Aid and pencil shavings.\u003c/p>\n\u003cp>I instantly looked around the room. There were so many women in blue CDCR shirts who’d gotten dressed up for the occasion using the resources they had; along with makeup, they wore fly earrings and freshly laid hairdos with perfect parts.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WepbuQ702XE\u003c/p>\n\u003cp>Sitting in a prison watching films about prison is like being in a 4D theatre. You \u003cem>feel\u003c/em> it. That’s why Louis Salé’s feature documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=WepbuQ702XE\">The People in Blue\u003c/a>\u003c/em> brought me to tears.\u003c/p>\n\u003cp>The film chronicles the macro-level changes underway at San Quentin State Prison, which has recently been converted to the \u003ca href=\"https://calmatters.org/justice/2026/02/san-quentin-rehabilitation-center/\">San Quentin Rehabilitation Center\u003c/a>. It also explores micro-level changes, as a handful of men go through an eight-week rehabilitative course that culminates in a visit from their families and a daddy-daughter dance.\u003c/p>\n\u003cp>\u003cem>The People in Blue\u003c/em> tugs the heartstrings, revealing all that comes with family separation. Lighthearted moments, like older men learning TikTok dances to impress their children, offset that weight.\u003c/p>\n\u003cp>At the film’s end, daughters and dads reunite while wearing dress attire. Again, I had to look around the room, and think: How many people in here, like me, grew up with fathers who were incarcerated?\u003c/p>\n\u003cfigure id=\"attachment_13988083\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988083 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01028.jpg\" alt=\"People applaud during presentations at the San Quentin Film Festival at the Central California Women's Facility. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01028-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience applauds during a presentation at the San Quentin Film Festival at the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Salé’s film, the event as a whole contained moments of gravity, gratitude and goofiness. Musicians from the Juilliard School and vocalists from the prison’s chorus, as well as poets and comedian \u003ca href=\"https://www.wkamaubell.com/\">W. Kamau Bell\u003c/a>, all graced the stage. It was just like a regular film festival, except for the location and people in attendance.\u003c/p>\n\u003cp>Those attendees included creatives like filmmaker \u003ca href=\"https://mayacamerongordon.com/\">Maya Cameron-Gordon\u003c/a>, visual artist \u003ca href=\"https://jacquelynserrano.com/about/\">Jacquelyn Serrano\u003c/a>, actor \u003ca href=\"https://www.instagram.com/cousinshy/?hl=en\">Cousin Shy\u003c/a> and film director \u003ca href=\"https://www.instagram.com/dlo.louis/\">D’Angelo “D’Lo” Louis\u003c/a>. All of them spent their Saturday in a gym at CCWF, accompanied by over 100 women in light blue shirts — just a small percentage of the 2,200 people currently incarcerated at the prison.\u003c/p>\n\u003cfigure id=\"attachment_13988081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988081 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01095.jpg\" alt=\"Diana Lovejoy, a CCWF resident, is the winner of the Best Documentary Pitch Award.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01095.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01095-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01095-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01095-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diana Lovejoy, a CCWF resident, won the Best Documentary Pitch Award during the San Quentin Film Festival at the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve never had an event of this magnitude at all in this facility, let alone for something for cultural and educational purpose,” said Diana Lovejoy, winner of the festival’s Best Documentary Pitch Award.\u003c/p>\n\u003cp>Lovejoy also serves as Journalism Guild Chairperson for \u003ca href=\"https://ccwfpapertrail.org/\">\u003ci>The Paper Trail\u003c/i>\u003c/a>. Founded \u003ca href=\"https://ccwfpapertrail.org/welcome-to-the-ccwf-paper-trail/\">in 2024\u003c/a>, it’s the United States’ only independent newspaper created by people incarcerated in a women’s facility. The establishment of the publication has put a spotlight on the facility, and she hopes that eventually, the ability to produce films will allow its stories to be seen even more widely, adding that “we intend to get some of that film production in-house.”\u003c/p>\n\u003cp>While acquiring the needed facilities and the training is a lengthy process, Lovejoy is clear that it could foster a skill set the community will appreciate. “Several of us on the team would love to get into podcasting and more of digital production,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13988082\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988082 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01077.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01077.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01077-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01077-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01077-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">After nearly four decades behind bars, Miss Kelly said the San Quentin Film Festival had her thinking about what reentry entails, She’s pictured here at the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For others, like Miss Kelly, the festival is a window into what reentry might entail. Its films, she said, highlight “the things that I forgot that I forgot.”\u003c/p>\n\u003cp>That lapse in memory comes with being incarcerated for a long time. “Almost 40 years for me,” she said, pointing to herself, and describing how she’s prepared for the mental strain that may come after returning home.\u003c/p>\n\u003cfigure id=\"attachment_13988085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988085 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01084.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01084.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01084-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01084-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01084-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘In order to change, you have to stay in motion,’ said Asali Richardson, a volunteer working with the San Quentin Film Festival at the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asali Richardson looked at the festival optimistically.\u003c/p>\n\u003cp>“The people that participated from here, they deserve to shine,” she told me. “Even if you didn’t win, you deserve something. You put thought to paper, and that action is what creates change.”\u003c/p>\n\u003cp>One person’s suffering, she said, may be answered by hearing somebody else’s story.\u003c/p>\n\u003cfigure id=\"attachment_13988086\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988086 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01056.jpg\" alt=\"A woman in dark sunglasses poses for a photo. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01056.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01056-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01056-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01056-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cori Thomas, co-founder of the San Quentin Film Festival, which came to the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cori Thomas, who worked with the Tribeca Film Festival for 17 years, co-founded the San Quentin Film Festival with Pulitzer prize–nominated podcast host and filmmaker \u003ca href=\"https://www.rahsaannewyorkthomas.com/\">Rahsaan Thomas\u003c/a> (no relation).\u003c/p>\n\u003cp>The San Quentin Film Festival took five years to go from an idea to reality, debuting at San Quentin 2024. Now that she’s taken the show on the road, Cori couldn’t be happier.\u003c/p>\n\u003cp>“To be a part of something that is helping women express themselves means more than anything to me,” she told me, noting that as a woman of color, it’s hard to be heard and respected. “You’re always sort of a second-class citizen,” Cori said. “You’re always the one who’s called to clean up the mess.”\u003c/p>\n\u003cfigure id=\"attachment_13988093\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988093\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01105.jpg\" alt=\"A woman standing on stage while speaking into a microphone. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01105.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01105-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01105-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01105-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">During the San Quentin Film Festival at Central California Women’s Facility on March 28, 2026, Lt. Monique Williams announced that she’ll retire in April as she celebrates her 50th birthday. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, she has big dreams for the festival: helping other prisons launch media centers, creating classes on filmmakers and maybe even livestreaming future festivals to prisons around the world.\u003c/p>\n\u003cp>Cori is right: taking in stories from a wide array of people and understanding their plight broadens one’s understanding of life. After working in and reporting about prisons on and off for over a decade, this was my first time in a women’s facility.\u003c/p>\n\u003cfigure id=\"attachment_13988087\" class=\"wp-caption aligncenter\" style=\"max-width: 1357px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988087 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/flowers.jpg\" alt=\"A photo of a garden. \" width=\"1357\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/flowers.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/flowers-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/flowers-768x580.jpg 768w\" sizes=\"auto, (max-width: 1357px) 100vw, 1357px\">\u003cfigcaption class=\"wp-caption-text\">Just beyond the blooming flowers in CCWF’s garden, the barbed wire fence and ‘out of bounds’ sign serves as a reminder of where you are. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like the other facilities I’d visited, there were barbed wire fences and steel doors, armed guards with keys jingling and Walkie-Talkies buzzing. People with facial tattoos. Folks in wheelchairs with ventilators. A lot more smiles than the male prisons I’ve visited, and more women guards, as well.\u003c/p>\n\u003cp>But there were also people pursuing dreams and chasing of freedom. Humans dealing with remorse and being accountable for their actions. There were harsh realities, fantastical tales and hands held in prayer circles.\u003c/p>\n\u003cp>As the guards checked me out of the prison, I noticed they were the only ones in the waiting room, which had gone back to its natural empty state.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for one day, at least, that women’s prison waiting room wasn’t one of the loneliest places in the world.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was once told that one of the loneliest places in the world is the waiting room in a women’s prison. For a few hours on Saturday, March 28, the large crowd that filed into the Central California Women’s Facility (CCWF) in Chowchilla defied that notion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg\" alt=\"\" width=\"180\" height=\"207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\">A small handful of visitors weren’t there for the day’s big event, but for regular visiting hours. A mother holding a baby in a shirt that read “Just served nine months in the womb.” An older woman going through security and removing items from her coat pocket, who told the guard she wished her daughter were part of the day’s activities.\u003c/p>\n\u003cp>And a middle-aged man covered in tattoos, who while walking through the metal detector asked a security guard: why are all these other people in the waiting room?\u003c/p>\n\u003cp>“They’re here for the \u003ca href=\"https://www.sanquentinfilmfestival.com/\">San Quentin Film Festival\u003c/a>,” she responded.\u003c/p>\n\u003cfigure id=\"attachment_13988084\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988084 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Untitled.jpg\" alt='W. Kamau Bell hosts a panel discussion with Abby Pierce, Tiffany \"Tiny\" Cruz, Oscar Rodriguez, Steven Raven Liang and Antwan Banks Williams at the San Quentin Film Festival at CCWF. ' width=\"2000\" height=\"1485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Untitled.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Untitled-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Untitled-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Untitled-1536x1140.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell hosts a panel discussion with Abby Pierce, Tiffany “Tiny” Cruz, Oscar Rodriguez, Steven Raven Liang and Antwan Banks Williams during the San Quentin Film Festival at the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cinephiles, photographers, professors and podcasters had all arrived in Chowchilla for the first-ever film festival held inside of a women’s prison in California. The daytime event showcased stories that centered the criminal justice system and explored concepts of love, freedom, health and healing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Dde2Cmvj904\">Processing\u003c/a>\u003c/em>, a short film by \u003ca href=\"https://www.antwanbanksphotography.com/\">Antwan Banks Williams\u003c/a>, combined audio interviews of incarcerated women with an intense scripted therapy session and opulent dance scenes, pairing uncomfortable truths with elegant body movements.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.stevenliang.com/oscars-return\">Oscar’s Return\u003c/a>\u003c/em>, an award-winning short documentary by \u003ca href=\"https://www.stevenliang.com/\">Steven Raven Liang\u003c/a>, chronicled the experience of Oscar Rodriguez, a man who returned home after spending 25 years behind bars. Despite finding his passion as a dog trainer, he still had to learn to deal with people in the outside world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" title=\"vimeo-player\" src=\"https://player.vimeo.com/video/1129531106?h=82605106f5\" width=\"640\" height=\"360\" frameborder=\"0\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://www.soboomfilm.com/\">So, Boom\u003c/a>\u003c/em>, a dramatic and hilarious narrative film by \u003ca href=\"https://www.instagram.com/tinyyydrama/\">Tiffany “Tiny” Cruz\u003c/a> and \u003ca href=\"https://www.instagram.com/plainoldabby/\">Abby Pierce\u003c/a>, a character named Sweet Tea gives prison survival tips to her younger sister, who is soon set to turn herself in to the authorities. Sweet Tea shows her sister how to make a meal with the materials she’s issued, and advises her not to take favors from anyone, because they come with a price. In one scene, Sweet Tea demonstrates how makeup can be made from Kool-Aid and pencil shavings.\u003c/p>\n\u003cp>I instantly looked around the room. There were so many women in blue CDCR shirts who’d gotten dressed up for the occasion using the resources they had; along with makeup, they wore fly earrings and freshly laid hairdos with perfect parts.\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/WepbuQ702XE'\n title='//www.youtube.com/embed/WepbuQ702XE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sitting in a prison watching films about prison is like being in a 4D theatre. You \u003cem>feel\u003c/em> it. That’s why Louis Salé’s feature documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=WepbuQ702XE\">The People in Blue\u003c/a>\u003c/em> brought me to tears.\u003c/p>\n\u003cp>The film chronicles the macro-level changes underway at San Quentin State Prison, which has recently been converted to the \u003ca href=\"https://calmatters.org/justice/2026/02/san-quentin-rehabilitation-center/\">San Quentin Rehabilitation Center\u003c/a>. It also explores micro-level changes, as a handful of men go through an eight-week rehabilitative course that culminates in a visit from their families and a daddy-daughter dance.\u003c/p>\n\u003cp>\u003cem>The People in Blue\u003c/em> tugs the heartstrings, revealing all that comes with family separation. Lighthearted moments, like older men learning TikTok dances to impress their children, offset that weight.\u003c/p>\n\u003cp>At the film’s end, daughters and dads reunite while wearing dress attire. Again, I had to look around the room, and think: How many people in here, like me, grew up with fathers who were incarcerated?\u003c/p>\n\u003cfigure id=\"attachment_13988083\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988083 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01028.jpg\" alt=\"People applaud during presentations at the San Quentin Film Festival at the Central California Women's Facility. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01028-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience applauds during a presentation at the San Quentin Film Festival at the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Salé’s film, the event as a whole contained moments of gravity, gratitude and goofiness. Musicians from the Juilliard School and vocalists from the prison’s chorus, as well as poets and comedian \u003ca href=\"https://www.wkamaubell.com/\">W. Kamau Bell\u003c/a>, all graced the stage. It was just like a regular film festival, except for the location and people in attendance.\u003c/p>\n\u003cp>Those attendees included creatives like filmmaker \u003ca href=\"https://mayacamerongordon.com/\">Maya Cameron-Gordon\u003c/a>, visual artist \u003ca href=\"https://jacquelynserrano.com/about/\">Jacquelyn Serrano\u003c/a>, actor \u003ca href=\"https://www.instagram.com/cousinshy/?hl=en\">Cousin Shy\u003c/a> and film director \u003ca href=\"https://www.instagram.com/dlo.louis/\">D’Angelo “D’Lo” Louis\u003c/a>. All of them spent their Saturday in a gym at CCWF, accompanied by over 100 women in light blue shirts — just a small percentage of the 2,200 people currently incarcerated at the prison.\u003c/p>\n\u003cfigure id=\"attachment_13988081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988081 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01095.jpg\" alt=\"Diana Lovejoy, a CCWF resident, is the winner of the Best Documentary Pitch Award.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01095.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01095-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01095-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01095-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diana Lovejoy, a CCWF resident, won the Best Documentary Pitch Award during the San Quentin Film Festival at the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve never had an event of this magnitude at all in this facility, let alone for something for cultural and educational purpose,” said Diana Lovejoy, winner of the festival’s Best Documentary Pitch Award.\u003c/p>\n\u003cp>Lovejoy also serves as Journalism Guild Chairperson for \u003ca href=\"https://ccwfpapertrail.org/\">\u003ci>The Paper Trail\u003c/i>\u003c/a>. Founded \u003ca href=\"https://ccwfpapertrail.org/welcome-to-the-ccwf-paper-trail/\">in 2024\u003c/a>, it’s the United States’ only independent newspaper created by people incarcerated in a women’s facility. The establishment of the publication has put a spotlight on the facility, and she hopes that eventually, the ability to produce films will allow its stories to be seen even more widely, adding that “we intend to get some of that film production in-house.”\u003c/p>\n\u003cp>While acquiring the needed facilities and the training is a lengthy process, Lovejoy is clear that it could foster a skill set the community will appreciate. “Several of us on the team would love to get into podcasting and more of digital production,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13988082\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988082 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01077.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01077.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01077-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01077-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01077-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">After nearly four decades behind bars, Miss Kelly said the San Quentin Film Festival had her thinking about what reentry entails, She’s pictured here at the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For others, like Miss Kelly, the festival is a window into what reentry might entail. Its films, she said, highlight “the things that I forgot that I forgot.”\u003c/p>\n\u003cp>That lapse in memory comes with being incarcerated for a long time. “Almost 40 years for me,” she said, pointing to herself, and describing how she’s prepared for the mental strain that may come after returning home.\u003c/p>\n\u003cfigure id=\"attachment_13988085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988085 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01084.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01084.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01084-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01084-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01084-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘In order to change, you have to stay in motion,’ said Asali Richardson, a volunteer working with the San Quentin Film Festival at the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asali Richardson looked at the festival optimistically.\u003c/p>\n\u003cp>“The people that participated from here, they deserve to shine,” she told me. “Even if you didn’t win, you deserve something. You put thought to paper, and that action is what creates change.”\u003c/p>\n\u003cp>One person’s suffering, she said, may be answered by hearing somebody else’s story.\u003c/p>\n\u003cfigure id=\"attachment_13988086\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988086 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01056.jpg\" alt=\"A woman in dark sunglasses poses for a photo. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01056.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01056-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01056-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01056-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cori Thomas, co-founder of the San Quentin Film Festival, which came to the Central California Women’s Facility in Chowchilla on March 28, 2026. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cori Thomas, who worked with the Tribeca Film Festival for 17 years, co-founded the San Quentin Film Festival with Pulitzer prize–nominated podcast host and filmmaker \u003ca href=\"https://www.rahsaannewyorkthomas.com/\">Rahsaan Thomas\u003c/a> (no relation).\u003c/p>\n\u003cp>The San Quentin Film Festival took five years to go from an idea to reality, debuting at San Quentin 2024. Now that she’s taken the show on the road, Cori couldn’t be happier.\u003c/p>\n\u003cp>“To be a part of something that is helping women express themselves means more than anything to me,” she told me, noting that as a woman of color, it’s hard to be heard and respected. “You’re always sort of a second-class citizen,” Cori said. “You’re always the one who’s called to clean up the mess.”\u003c/p>\n\u003cfigure id=\"attachment_13988093\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988093\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01105.jpg\" alt=\"A woman standing on stage while speaking into a microphone. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01105.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01105-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01105-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DSC01105-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">During the San Quentin Film Festival at Central California Women’s Facility on March 28, 2026, Lt. Monique Williams announced that she’ll retire in April as she celebrates her 50th birthday. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, she has big dreams for the festival: helping other prisons launch media centers, creating classes on filmmakers and maybe even livestreaming future festivals to prisons around the world.\u003c/p>\n\u003cp>Cori is right: taking in stories from a wide array of people and understanding their plight broadens one’s understanding of life. After working in and reporting about prisons on and off for over a decade, this was my first time in a women’s facility.\u003c/p>\n\u003cfigure id=\"attachment_13988087\" class=\"wp-caption aligncenter\" style=\"max-width: 1357px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988087 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/flowers.jpg\" alt=\"A photo of a garden. \" width=\"1357\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/flowers.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/flowers-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/flowers-768x580.jpg 768w\" sizes=\"auto, (max-width: 1357px) 100vw, 1357px\">\u003cfigcaption class=\"wp-caption-text\">Just beyond the blooming flowers in CCWF’s garden, the barbed wire fence and ‘out of bounds’ sign serves as a reminder of where you are. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like the other facilities I’d visited, there were barbed wire fences and steel doors, armed guards with keys jingling and Walkie-Talkies buzzing. People with facial tattoos. Folks in wheelchairs with ventilators. A lot more smiles than the male prisons I’ve visited, and more women guards, as well.\u003c/p>\n\u003cp>But there were also people pursuing dreams and chasing of freedom. Humans dealing with remorse and being accountable for their actions. There were harsh realities, fantastical tales and hands held in prayer circles.\u003c/p>\n\u003cp>As the guards checked me out of the prison, I noticed they were the only ones in the waiting room, which had gone back to its natural empty state.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for one day, at least, that women’s prison waiting room wasn’t one of the loneliest places in the world.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For those who visited the \u003ca href=\"https://www.kqed.org/arts/13974032/sfmomas-ruth-asawa-retrospective-honors-the-patron-saint-of-san-francisco-arts\">Ruth Asawa retrospective\u003c/a> at the San Francisco Museum of Modern Art and left awestruck, wishing they could partake in the artist’s work more frequently, I have good news.\u003c/p>\n\u003cp>On May 9, Ruth Asawa Lanier, Inc., “a family-run entity” that manages the artist’s estate, will open a new exhibition space at the Minnesota Street Project. RAL, Inc. will move into the downstairs gallery last occupied by \u003ca href=\"https://www.kqed.org/arts/13984541/anglim-trimble-closing-minnesota-street-project-rena-bransten-altman-siegel\">Anglim/Trimble\u003c/a>, which closed at the end of December 2025.\u003c/p>\n\u003cp>The 1,714-square-foot gallery will be the first permanent venue to provide public access to the artist’s works. Rotating exhibitions will showcase the full extent of Asawa’s looped-wire sculptures, paintings, drawings, prints and community projects. The space launches with \u003ci>Ruth Asawa: Untitled\u003c/i>, a show curated by Asawa’s daughters Aiko Cuneo and Addie Lanier, that speaks to Asawa’s tendency to leave much of her art untitled. For her, today’s announcement explains, naming was far less important than the process of making.\u003c/p>\n\u003cp>It’s the kind of mentality Asawa fans have come to expect from the artist responsible for indelible pieces of \u003ca href=\"https://ruthasawa.com/ruth-asawas-public-art-tour/\">public art\u003c/a>. She also helped found our \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">public arts high school\u003c/a>, now named for her; the \u003ca href=\"https://www.sfartsed.org/\">San Francisco Arts Education Project\u003c/a> (also housed at MSP), which offers hands-on arts instruction by working artists; and the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a>, a beloved depot of affordable art materials.\u003c/p>\n\u003cp>“When asked in 2002 why she never pursued a career in a major art market like New York, she replied, ‘It’s better for me to invest in San Francisco,’” said Henry Weverka, president RAL, Inc., in today’s announcement. Weverka is also one of Asawa’s grandchildren.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We hope that by continuing to share Asawa’s story, we will encourage others to pursue their own creative endeavors and inspire the next generation of artists and makers here in San Francisco,” Weverka said.\u003c/p>\n\u003cp>RAL, Inc. is the second new tenant to move into the MSP building after \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">four galleries announced their closure\u003c/a> at the end of the last year. \u003ca href=\"https://www.kqed.org/arts/13986545/afropop-review-art-of-contemporary-africa-gallery-minnesota-st-project-sf\">Art of Contemporary Africa\u003c/a>, another newcomer, now occupies the former Rena Bransten Gallery space; it opened on Feb. 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to shows of Asawa’s work, RAL, Inc. plans to exhibit art by her friends and contemporaries, including Imogen Cunningham, Ray Johnson and Josef and Anni Albers (Asawa studied under Josef Albers at Black Mountain College). The space will also host an annual exhibition for Ruth Asawa San Francisco School of the Arts students and faculty.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those who visited the \u003ca href=\"https://www.kqed.org/arts/13974032/sfmomas-ruth-asawa-retrospective-honors-the-patron-saint-of-san-francisco-arts\">Ruth Asawa retrospective\u003c/a> at the San Francisco Museum of Modern Art and left awestruck, wishing they could partake in the artist’s work more frequently, I have good news.\u003c/p>\n\u003cp>On May 9, Ruth Asawa Lanier, Inc., “a family-run entity” that manages the artist’s estate, will open a new exhibition space at the Minnesota Street Project. RAL, Inc. will move into the downstairs gallery last occupied by \u003ca href=\"https://www.kqed.org/arts/13984541/anglim-trimble-closing-minnesota-street-project-rena-bransten-altman-siegel\">Anglim/Trimble\u003c/a>, which closed at the end of December 2025.\u003c/p>\n\u003cp>The 1,714-square-foot gallery will be the first permanent venue to provide public access to the artist’s works. Rotating exhibitions will showcase the full extent of Asawa’s looped-wire sculptures, paintings, drawings, prints and community projects. The space launches with \u003ci>Ruth Asawa: Untitled\u003c/i>, a show curated by Asawa’s daughters Aiko Cuneo and Addie Lanier, that speaks to Asawa’s tendency to leave much of her art untitled. For her, today’s announcement explains, naming was far less important than the process of making.\u003c/p>\n\u003cp>It’s the kind of mentality Asawa fans have come to expect from the artist responsible for indelible pieces of \u003ca href=\"https://ruthasawa.com/ruth-asawas-public-art-tour/\">public art\u003c/a>. She also helped found our \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">public arts high school\u003c/a>, now named for her; the \u003ca href=\"https://www.sfartsed.org/\">San Francisco Arts Education Project\u003c/a> (also housed at MSP), which offers hands-on arts instruction by working artists; and the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a>, a beloved depot of affordable art materials.\u003c/p>\n\u003cp>“When asked in 2002 why she never pursued a career in a major art market like New York, she replied, ‘It’s better for me to invest in San Francisco,’” said Henry Weverka, president RAL, Inc., in today’s announcement. Weverka is also one of Asawa’s grandchildren.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We hope that by continuing to share Asawa’s story, we will encourage others to pursue their own creative endeavors and inspire the next generation of artists and makers here in San Francisco,” Weverka said.\u003c/p>\n\u003cp>RAL, Inc. is the second new tenant to move into the MSP building after \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">four galleries announced their closure\u003c/a> at the end of the last year. \u003ca href=\"https://www.kqed.org/arts/13986545/afropop-review-art-of-contemporary-africa-gallery-minnesota-st-project-sf\">Art of Contemporary Africa\u003c/a>, another newcomer, now occupies the former Rena Bransten Gallery space; it opened on Feb. 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to shows of Asawa’s work, RAL, Inc. plans to exhibit art by her friends and contemporaries, including Imogen Cunningham, Ray Johnson and Josef and Anni Albers (Asawa studied under Josef Albers at Black Mountain College). The space will also host an annual exhibition for Ruth Asawa San Francisco School of the Arts students and faculty.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13988036\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1.jpg\" alt=\"Illustration: Diners point at the dishes they want at a cafeteria-style counter. Chefs in white toques serve them their food.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With locations in San Leandro and Redwood City, Harry’s Hofbrau is one of the last in a dying breed of cafeteria-style restaurants specializing in freshly carved roasted meats. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week, guest artist (and rotisserie chicken enthusiast) \u003c/i>\u003ca href=\"https://www.instagram.com/brianabreaks/?hl=en\">\u003ci>Briana Loewinsohn\u003c/i>\u003c/a>\u003ci> joined them in the hofbrau line.\u003c/i>\u003c/p>\n\u003cp>It’s been a couple of decades since I’ve eaten at the EPCOT Center’s \u003ca href=\"https://www.eater.com/2015/8/26/9192203/epcot-world-showcase-ranked\">themed dining pavilions\u003c/a>. But \u003ca href=\"https://www.instagram.com/harryshofbrausanleandro/\">Harry’s Hofbrau\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/san-leandro\">San Leandro\u003c/a> might be the closest I’ve gotten to its pleasantly cheesy theme-park vibe while dining out in the Bay.\u003c/p>\n\u003cp>At Harry’s, you’re greeted at the door by a procession of jolly statues (a paunchy, mustachioed chef; a beer chugger in lederhosen), all gussied up in leprechaun green if you come the week before St. Patrick’s Day, as we did. The restaurant is \u003ci>huge\u003c/i>, nostalgically appointed in the style of a German hunting lodge, and perpetually decked out with colorful streamers, balloons and twinkle lights for Christmas, or St. Patty’s, or Thanksgiving. You wait in a long cafeteria queue, and when you finally reach the front, one of the knife-wielding maestros in a jaunty white chef’s toque hands you a plastic tray with a plate piled high with gravy-drenched sliced meats.\u003c/p>\n\u003cp>It is perfection, in its way.\u003c/p>\n\u003cp>Above all else, Harry’s is a restaurant that doesn’t take itself too seriously. It’s a proper hofbrau — one of the last in a dying breed of cafeteria-style restaurants, mostly unique to the Bay Area, that specialize in freshly carved roasted meats and inexpensive draft beer. It also happens to be one of the few remaining places in the Bay where you can get a big steak (or roast turkey, or corned-beef-and-cabbage) dinner for around $20.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And, of special relevance to our interests, the place stays open late, too — until 11 p.m. on weekends.\u003c/p>\n\u003cp>That said, the crowd at Harry’s, at a little past 9 p.m. on a recent Friday, didn’t exactly \u003ci>feel\u003c/i> like a crowd. There wasn’t much of a line at this late hour, and because the cavernous dining room is so big, only about a third of the tables were occupied. It was one of the more diverse dining rooms I’ve been in for a while, ethnically and racially (an even split between Black, white, Latino and Asian), if not in terms of age. Indeed, apart from one lone table of teens, our middle-aged crew appeared to be the only party in the entire restaurant under the age of 60. One cushy booth was occupied by a group of older ladies in matching custodial uniforms. A number of solo diners quietly ate their plates of roast beef and mashed potatoes by themselves — tired and contemplative at the end of a long workday, it seemed.\u003c/p>\n\u003cp>This, too, is part of the restaurant’s charm. The San Leandro hofbrau — along with the original Redwood City location, which dates back to the 1950s — is one of the few Bay Area restaurants where you can walk in with a group of 10 or 15 at 10 o’clock on a Saturday night and have everyone seated and enjoying a hot meal within a matter of minutes. For a big, casual family reunion, last-minute birthday party or after-work group-decompression session, Harry’s is an easy crowdpleaser.\u003c/p>\n\u003cfigure id=\"attachment_13988037\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988037\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2.jpg\" alt=\"Illustration: Two men sit in a leather booth over a large spread of roast meats and mashed potatoes.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">There isn’t much of a crowd at Harry’s Hofbrau late at night — which makes is perfect for an impromptu gathering. The restaurant stays open until 11 p.m. on weekends. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The heart of the carvery is the cafeteria-style steam table counter where diners can choose from a dizzying array of roasted meats, the most popular of which are the turkey (for a Thanksgiving anytime vibe), the roast beef and the corned beef — normally a Thursday dinner special, but served all week long in the lead-up to St. Patrick’s Day.\u003c/p>\n\u003cp>The most devoted Harry’s loyalist in our group stuck with her usual rotisserie chicken dinner, which she described as being just like the more famous turkey dinner “but cheaper \u003ci>and\u003c/i> tastier.” For about $17, you get a half a chicken, a huge mound of mashed potatoes soaked in your choice of beef or turkey gravy (both excellent), a dinner roll and an additional side of your choosing. While you don’t come to a place like Harry’s expecting complicated spices or pasture-raised birds, the dark meat on that chicken was tender and succulent, the gravy made up for the slight dryness of the breast, and the skin was especially well seasoned and delicious — all in all, several steps up from a Boston Market (or your local equivalent).\u003c/p>\n\u003cp>The house-cured corned beef and cabbage, meanwhile, was just fine — sliced thick, generously portioned, and tasty enough, especially when drenched in the house au jus. The accompanying cabbage, carrots and potatoes were just plainly boiled, though. You’ll have to doctor them up with salt and butter at the table if you find them bland.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13987415,arts_13963093,arts_13953224']\u003c/span>\u003c/span>My favorite, by far, was the Santa Maria–style tri tip — a nod to California’s own homegrown style of barbecue — which Harry’s serves as a special on Friday nights. Even carved off the small nub of the roast left over at the end of the night, the thin slices of beef were still perfectly tender and pink, with a pronounced smoky flavor that lingered on the tongue. It was fantastic soaked in au jus, with a dab of the bottled horseradish cream available on each table.\u003c/p>\n\u003cp>(Pro tip: You can always ask for more au jus or gravy. Don’t make the same mistake I did, confidently walking up to a dispenser in the dining area to pour myself a tub. Those are hot \u003ci>coffee \u003c/i>dispensers, not au jus or gravy dispensers — though I can’t be the only one who’s suggested that those would be an amazing amenity.)\u003c/p>\n\u003cp>The restaurant’s other signature is its mashed potatoes, which aren’t “gourmet” in any way, but look just like a version you might see on a 1950s picture postcard, and taste just as rich and nostalgic. While none of the other side dishes we tried were strictly \u003ci>delicious\u003c/i>, the range of hot and cold options on the steam table is another part of what makes the Harry’s experience fun and vaguely buffet-like. For balance, I’d recommend getting some kind of green vegetable: I liked the mixed grilled veggies (exactly like you’d get at a backyard cookout) better than the limp Caesar salad with oddly soft croutons.\u003c/p>\n\u003cp>You’ll want to save a little bit of room for dessert too. Even though my tablemates mocked my enthusiasm for the blueberry pie — which they, in their ignorance, deemed too thick-crusted and overly sweet — I can never resist ordering a slice. This night’s specimen was especially perfect-looking, like a cartoon drawing of a slice of pie, with its crinkly sparkly-sugar topping and thick filling of glistening berries.\u003c/p>\n\u003cp>I polished off most of the pie by myself, with a cup of strong hot coffee. Like just about everything else at Harry’s, it tasted like the most pleasant memory.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/harryshofbrausanleandro/\">\u003ci>Harry’s Hofbrau\u003c/i>\u003c/a>\u003ci> is open Sunday to Thursday 11 a.m.–10 p.m. and Friday to Saturday 11 a.m.–11 p.m. at 14900 E. 14th St. in San Leandro. The restaurant’s \u003c/i>\u003ca href=\"https://www.instagram.com/harryshofbraurwc/\">\u003ci>other location\u003c/i>\u003c/a>\u003ci>, at 1909 El Camino Real in Redwood City, is open until 11 p.m. one additional night, on Thursdays.\u003c/i>\u003c/p>\n\n",
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"title": "Harry’s Hofbrau Is a Late-Night Throwback for $20 Steak Dinners | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13988036\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1.jpg\" alt=\"Illustration: Diners point at the dishes they want at a cafeteria-style counter. Chefs in white toques serve them their food.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_1-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With locations in San Leandro and Redwood City, Harry’s Hofbrau is one of the last in a dying breed of cafeteria-style restaurants specializing in freshly carved roasted meats. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week, guest artist (and rotisserie chicken enthusiast) \u003c/i>\u003ca href=\"https://www.instagram.com/brianabreaks/?hl=en\">\u003ci>Briana Loewinsohn\u003c/i>\u003c/a>\u003ci> joined them in the hofbrau line.\u003c/i>\u003c/p>\n\u003cp>It’s been a couple of decades since I’ve eaten at the EPCOT Center’s \u003ca href=\"https://www.eater.com/2015/8/26/9192203/epcot-world-showcase-ranked\">themed dining pavilions\u003c/a>. But \u003ca href=\"https://www.instagram.com/harryshofbrausanleandro/\">Harry’s Hofbrau\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/san-leandro\">San Leandro\u003c/a> might be the closest I’ve gotten to its pleasantly cheesy theme-park vibe while dining out in the Bay.\u003c/p>\n\u003cp>At Harry’s, you’re greeted at the door by a procession of jolly statues (a paunchy, mustachioed chef; a beer chugger in lederhosen), all gussied up in leprechaun green if you come the week before St. Patrick’s Day, as we did. The restaurant is \u003ci>huge\u003c/i>, nostalgically appointed in the style of a German hunting lodge, and perpetually decked out with colorful streamers, balloons and twinkle lights for Christmas, or St. Patty’s, or Thanksgiving. You wait in a long cafeteria queue, and when you finally reach the front, one of the knife-wielding maestros in a jaunty white chef’s toque hands you a plastic tray with a plate piled high with gravy-drenched sliced meats.\u003c/p>\n\u003cp>It is perfection, in its way.\u003c/p>\n\u003cp>Above all else, Harry’s is a restaurant that doesn’t take itself too seriously. It’s a proper hofbrau — one of the last in a dying breed of cafeteria-style restaurants, mostly unique to the Bay Area, that specialize in freshly carved roasted meats and inexpensive draft beer. It also happens to be one of the few remaining places in the Bay where you can get a big steak (or roast turkey, or corned-beef-and-cabbage) dinner for around $20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And, of special relevance to our interests, the place stays open late, too — until 11 p.m. on weekends.\u003c/p>\n\u003cp>That said, the crowd at Harry’s, at a little past 9 p.m. on a recent Friday, didn’t exactly \u003ci>feel\u003c/i> like a crowd. There wasn’t much of a line at this late hour, and because the cavernous dining room is so big, only about a third of the tables were occupied. It was one of the more diverse dining rooms I’ve been in for a while, ethnically and racially (an even split between Black, white, Latino and Asian), if not in terms of age. Indeed, apart from one lone table of teens, our middle-aged crew appeared to be the only party in the entire restaurant under the age of 60. One cushy booth was occupied by a group of older ladies in matching custodial uniforms. A number of solo diners quietly ate their plates of roast beef and mashed potatoes by themselves — tired and contemplative at the end of a long workday, it seemed.\u003c/p>\n\u003cp>This, too, is part of the restaurant’s charm. The San Leandro hofbrau — along with the original Redwood City location, which dates back to the 1950s — is one of the few Bay Area restaurants where you can walk in with a group of 10 or 15 at 10 o’clock on a Saturday night and have everyone seated and enjoying a hot meal within a matter of minutes. For a big, casual family reunion, last-minute birthday party or after-work group-decompression session, Harry’s is an easy crowdpleaser.\u003c/p>\n\u003cfigure id=\"attachment_13988037\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988037\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2.jpg\" alt=\"Illustration: Two men sit in a leather booth over a large spread of roast meats and mashed potatoes.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Harrys_Hofbrau_2-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">There isn’t much of a crowd at Harry’s Hofbrau late at night — which makes is perfect for an impromptu gathering. The restaurant stays open until 11 p.m. on weekends. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The heart of the carvery is the cafeteria-style steam table counter where diners can choose from a dizzying array of roasted meats, the most popular of which are the turkey (for a Thanksgiving anytime vibe), the roast beef and the corned beef — normally a Thursday dinner special, but served all week long in the lead-up to St. Patrick’s Day.\u003c/p>\n\u003cp>The most devoted Harry’s loyalist in our group stuck with her usual rotisserie chicken dinner, which she described as being just like the more famous turkey dinner “but cheaper \u003ci>and\u003c/i> tastier.” For about $17, you get a half a chicken, a huge mound of mashed potatoes soaked in your choice of beef or turkey gravy (both excellent), a dinner roll and an additional side of your choosing. While you don’t come to a place like Harry’s expecting complicated spices or pasture-raised birds, the dark meat on that chicken was tender and succulent, the gravy made up for the slight dryness of the breast, and the skin was especially well seasoned and delicious — all in all, several steps up from a Boston Market (or your local equivalent).\u003c/p>\n\u003cp>The house-cured corned beef and cabbage, meanwhile, was just fine — sliced thick, generously portioned, and tasty enough, especially when drenched in the house au jus. The accompanying cabbage, carrots and potatoes were just plainly boiled, though. You’ll have to doctor them up with salt and butter at the table if you find them bland.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>My favorite, by far, was the Santa Maria–style tri tip — a nod to California’s own homegrown style of barbecue — which Harry’s serves as a special on Friday nights. Even carved off the small nub of the roast left over at the end of the night, the thin slices of beef were still perfectly tender and pink, with a pronounced smoky flavor that lingered on the tongue. It was fantastic soaked in au jus, with a dab of the bottled horseradish cream available on each table.\u003c/p>\n\u003cp>(Pro tip: You can always ask for more au jus or gravy. Don’t make the same mistake I did, confidently walking up to a dispenser in the dining area to pour myself a tub. Those are hot \u003ci>coffee \u003c/i>dispensers, not au jus or gravy dispensers — though I can’t be the only one who’s suggested that those would be an amazing amenity.)\u003c/p>\n\u003cp>The restaurant’s other signature is its mashed potatoes, which aren’t “gourmet” in any way, but look just like a version you might see on a 1950s picture postcard, and taste just as rich and nostalgic. While none of the other side dishes we tried were strictly \u003ci>delicious\u003c/i>, the range of hot and cold options on the steam table is another part of what makes the Harry’s experience fun and vaguely buffet-like. For balance, I’d recommend getting some kind of green vegetable: I liked the mixed grilled veggies (exactly like you’d get at a backyard cookout) better than the limp Caesar salad with oddly soft croutons.\u003c/p>\n\u003cp>You’ll want to save a little bit of room for dessert too. Even though my tablemates mocked my enthusiasm for the blueberry pie — which they, in their ignorance, deemed too thick-crusted and overly sweet — I can never resist ordering a slice. This night’s specimen was especially perfect-looking, like a cartoon drawing of a slice of pie, with its crinkly sparkly-sugar topping and thick filling of glistening berries.\u003c/p>\n\u003cp>I polished off most of the pie by myself, with a cup of strong hot coffee. Like just about everything else at Harry’s, it tasted like the most pleasant memory.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/harryshofbrausanleandro/\">\u003ci>Harry’s Hofbrau\u003c/i>\u003c/a>\u003ci> is open Sunday to Thursday 11 a.m.–10 p.m. and Friday to Saturday 11 a.m.–11 p.m. at 14900 E. 14th St. in San Leandro. The restaurant’s \u003c/i>\u003ca href=\"https://www.instagram.com/harryshofbraurwc/\">\u003ci>other location\u003c/i>\u003c/a>\u003ci>, at 1909 El Camino Real in Redwood City, is open until 11 p.m. one additional night, on Thursdays.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "How One of Mexico City’s Most Acclaimed Restaurants Began in Oakland | KQED",
"labelTerm": {},
"content": "\u003cp>[dropcap]W[/dropcap]hen you first enter Masala y Maiz — a Michelin-starred renegade of a restaurant in Mexico City that has been profiled on Netflix’s “Chef’s Table” — you wouldn’t necessarily know that Oakland is at the heart of its soulful appeal. The concrete, brutalist design of the space denotes an air of Mexican modernism that’s unlike anything you’d find in the Bay Area.\u003c/p>\n\u003cp>Yet according to chef and co-owner Saqib Keval, a Northern California–raised son of Ethiopian and Kenyan immigrants of Indian descent, Oakland is central to the restaurant’s ethos.\u003c/p>\n\u003cp>“The restaurant feels like an extension of Oakland at times, in terms of the music, politics, culture, vibe,” says Keval, who opened Masala y Maiz with his wife Norma Listman in 2017. “It feels like an embassy. Oakland is a place we miss.”\u003c/p>\n\u003cp>Bay Area activists may remember Keval as one of the co-founders of the \u003ca href=\"https://www.instagram.com/peopleskitchencollective/\">People’s Kitchen Collective\u003c/a> (PKC), among Oakland’s most prominent food justice organizations. Listman, meanwhile, was born and raised in Texcoco, Mexico, before she migrated to the Bay in the ’90s to work as a multidisciplinary artist and, eventually, a chef, cutting her teeth at esteemed Oakland restaurants like Tamarindo, Bay Wolf and Camino.\u003c/p>\n\u003cfigure id=\"attachment_13987860\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant.jpg\" alt=\"Two chefs in blue aprons pose in front a restaurant, underneath massive cement columns.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keval and Listman stand in front of the current iteration of Masala y Maiz in Mexico City’s historic centro, where the restaurant relocated in 2024. \u003ccite>(Ana Lorenzana, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have Oakland tattooed on my leg,” she says. “We hold a romantic idea of the Bay, of Oakland, when we lived there. I was in the Bay for 18 years. I was there during the dot-com boom in ’99. A lot of our communities left because it was impossible to keep going. The restaurants we worked at closed because it wasn’t sustainable. [But] my mentors are still there, and that’s where I came into food.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland’s grassroots influences, along with Listman’s leftist upbringing in Mexico and Keval’s anti-colonial literary acumen from his days at Humboldt State University, are unmistakably baked into Masala y Maiz’s philosophies of collectivism, equity and universal workers rights. A few times a year, the restaurant hosts an “Eat What You Want, Pay What You Can” day, inviting anyone — particularly locals combating the rising cost of living in \u003ca href=\"https://www.cntraveler.com/story/how-gentrification-continues-to-change-mexico-city\">a gentrified Mexico City\u003c/a> — to enjoy a Michelin-starred meal, even if all they can afford to pay for it with is \u003ca href=\"https://www.bbc.com/travel/article/20250825-pay-what-you-can-for-a-michelin-starred-meal\">a piece of original artwork\u003c/a>. The restaurant’s regular menus often feature large, bilingual phrases (“white supremacy is terrorism”; “que vive la lucha femenista”) based on current events.\u003c/p>\n\u003cfigure id=\"attachment_13987864\" class=\"wp-caption alignnone\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread.jpg\" alt=\"A spread of dishes on a black tabletop — included is a fried whole fish, head-on shrimp, and salad.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">An impressive spread of dishes at Masa y Maiz. \u003ccite>(Ana Lorenzana, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The messaging isn’t only for show. In 2018, the restaurant boldly \u003ca href=\"https://www.latimes.com/world/la-fg-mexico-city-restaurant-20180512-story.html\">challenged Mexico City’s government officials, citing corruption and bribery\u003c/a> — and somehow came out unscathed. Then, in 2021, the couple rejected a nomination from The World’s 50 Best Restaurants, calling out the foundation’s culture of exploitation and sexism. On Instagram, Masala y Maiz expressed gratitude for the recognition but didn’t yield, sharing a graphic of their invitation with a simple declaration overlaid above it: “\u003ca href=\"https://www.instagram.com/p/CVfYu1rL7oT/?utm_source=ig_embed&ig_rid=128bcd38-88bd-4ee8-a174-fd802ac4baae\">Gracias, no gracias\u003c/a>.”\u003c/p>\n\u003cp>The restaurant has also proven to be far more transcendentally savory than any political statement could ever be on its own. That is to say, the food at Masala y Maiz reflects Oakland’s famously eclectic flavors, too, in its borderless mezcla of dishes: an edible tapestry of Mexican, Indian and East African ingredients. The paratha quesadilla, which uses Indian flatbread in place of traditional corn tortillas, is gooed together with a blend of Oaxacan and mountain cheeses, and served with a side of salsa machaar and herb salad. For the uttapam gordita, a thick South Indian dosa is topped with shredded barbacoa, butternut squash, asparagus and housemade salsa verde. And the esquites makai pakka is a Kenyan remix of Mexico’s beloved street corn dish — a stir of corn kernels, coconut milk, East African masala, in-house mayo and crumbled cotija cheese.\u003c/p>\n\u003cfigure id=\"attachment_13987857\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri.jpg\" alt='Jars of spices labeled with blue tape, including dried guajillo chiles, gunpowder pudi, \"Black Power cardamom,\" methi, and maiz morado.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Masala y Maiz is a reflection of the commonalities that can be found across different parts the Global South. Here, a medley of Indian and East African spices sit beside Mexican ingredients like corn and guajillo peppers. \u003ccite>(Sana Javeri Kadri, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Oakland’s past is reuniting with the restaurant’s present. This month, the duo is hosting a series of guest chefs from all over the map in honor of International Women’s Month. The series concludes on March 25 with a collaborative dinner featuring the Bay Area’s own Reem Assil and Nite Yun, who both got their starts cooking in Oakland. Yun is the Cambodian American chef behind \u003ca href=\"https://www.instagram.com/lunette_cambodia/?hl=en\">Lunette\u003c/a>, a Khmer gem inside San Francisco’s Ferry Building; Assil is the Palestinian-Syrian culinary icon of \u003ca href=\"https://www.instagram.com/reemscalifornia/?hl=en\">Reem’s California\u003c/a> fame. The Bay Area chefs will join Listman and Keval to create a one-night-only menu centered on their Cambodian, Palestinian, Indian and Mexican backgrounds.\u003c/p>\n\u003cp>But how, exactly, did this internationally renowned hot spot make it all the way down from the East Bay’s shores to the pedestrian-flooded Centro Historico of Mexico’s trending capital to begin with? As it turns out, it all originated as an Oakland love story.\u003c/p>\n\u003ch2>\u003cb>‘Ghetto Gourmet’ and PKC — that’s Oakland, baby\u003c/b>\u003c/h2>\n\u003cp>Before landing in the Bay, Listman had already established herself in the Mexico City art scene. When she came to Oakland in the ’90s, she quickly felt aligned with the city’s unsugared realness, laissez-faire freedoms and artistic energy.\u003c/p>\n\u003cp>“The art scene in Mexico City was very avant garde, very international; it was exhilarating. I felt the same way about Oakland,” she says. “I fell in love with the Bay because of that similarity.”\u003c/p>\n\u003cfigure id=\"attachment_13987856\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview.jpg\" alt=\"In a backyard garden setting, a woman holds out a glass while a bottle wine is poured.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">During her time in the Bay Area, Listman brought her expertise and insights as a Mexican-born artist and foodmaker, helping to introduce mezcal to the region when it was relatively unknown. Alice Waters (right), the founder of Berkeley’s Chez Panisse, attended one of her many events. \u003ccite>(Courtesy of Norma Listman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Oakland of then was far from the Oakland it would later become. In the mid-to-late aughts, Listman was among the first in the Town to purvey artisanal mezcals, when the libation was more mystery than mainstream. She was invested in fashion, design and art. In 2007, she began working front of house in various Oakland restaurants, eventually finding her way into the kitchen. She independently experimented with food as “a medium to tell a larger story” with a project she titled The Salon Dinners. Listman recalls those times fondly, before tech billionaires and real estate conglomerates completely uprooted artists and storytellers in the region, leaving a profit-driven void in their wake.\u003c/p>\n\u003cp>“In Oakland, there was something called ‘Ghetto Gourmet,’” she says, describing an underground community of Oakland home chefs at the time, not to be confused with the \u003ca href=\"https://www.kqed.org/news/11777049/why-berkeleys-gourmet-ghetto-is-a-problem-for-some\">Berkeley neighborhood nickname\u003c/a>. “People turned their houses into restaurants and began cooking their own food, and it was a really cool time in the Bay to have those experiences and to be experimental. I started doing some of that,” she says. “Where I grew up in Mexico, it’s common that some homes and garages and family dining rooms become restaurants to serve pozole or some other dish that the family matriarch does well. [My dinners] felt like a blend of that, in terms of food, but it was shot down by the health department. It lasted about a year and a half, and it was so cool.”\u003c/p>\n\u003cp>For Listman, these kinds of secretive, word-of-mouth happenings gave Oakland a certain magic in that era: “Everything felt more hidden. Back in the day, nothing was exposed, but if you knocked on a door, it would open, and then another door would appear behind that, and you’d find another world inside.”\u003c/p>\n\u003cfigure id=\"attachment_13987852\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987852\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders.jpg\" alt=\"Three smiling people posing for a portrait in front of some kitchen cabinets\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left: Keval, Sita Kuratomi Bhaumik and Jocelyn Jackson. The trio co-founded the People’s Kitchen Collective in 2007. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During that same span, \u003ca href=\"https://edibleeastbay.com/2013/08/15/it-takes-a-grandmother/\">Keval was steadily building up PKC\u003c/a>, a political food program he co-founded in 2007, along with \u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\">Jocelyn Jackson\u003c/a> and Sita Kuratomi Bhaumik, in West Oakland. Keval’s evolving vision for the group was inspired by his involvement in Bay Area restaurants and food nonprofits like Restaurant Opportunities Center of the Bay Area and West Oakland’s People’s Grocery, where he helped start the \u003ca href=\"https://growingjusticeinstitute.wordpress.com/about/\">Growing Justice Institute\u003c/a>, an urban agriculture project.\u003c/p>\n\u003cp>During Keval’s time at PKC, the group held large-scale public meals at Lil Bobby Hutton Park and at urban farms. Keval developed connections with Black Panther Party elders and collaborated with the likes of \u003ca href=\"https://www.kqed.org/arts/13986932/emory-douglas-black-panthers-interview-aaacc-san-francisco\">Emory Douglas\u003c/a>, who created the fliers for the Panthers’ Free Breakfast Program. “It was formative for me as an activist to understand the Black and Brown and South Asian history in the Bay. That was vital,” Keval says of those years.\u003c/p>\n\u003cp>Soon, his path would serendipitously intertwine with Listman’s.\u003c/p>\n\u003cfigure id=\"attachment_13987854\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987854\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc.jpg\" alt=\"A South Asian man holds a microphone as he addresses a gathering. His apron reads, "The People's Kitchen, OAKLAND."\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-1536x1026.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In the late aughts, Keval rallied communities in Oakland and beyond around issues of food justice. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>The road to Mexico City goes through Old Oakland\u003c/b>\u003c/h2>\n\u003cp>Maybe no neighborhood in Oakland has retained as much of the clandestine enchantment that Listman recalls from the aughts as Old Oakland. In particular, the historic downtown neighborhood — crammed into a quaint, relatively sleepy four-block nook bordered by Highway 880, Broadway and West Oakland — has long been an overlooked bastion of delicious eats.\u003c/p>\n\u003cp>In prior years, you’d find beloved gems like \u003ca href=\"https://www.kqed.org/arts/13910410/miss-ollies-oakland-closing\">Miss Ollie’s\u003c/a>, the Afro-Caribbean staple with out-the-door lines, where Keval once worked. Today, the neighborhood is home to chef Anthony Salguero’s Popoca, a Salvadoran American powerhouse slanging woodfired pupusas, and \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’chaka\u003c/a>, Oakland’s first and only Haitian joint (which, poetically, exists in the former Miss Ollie’s space). But arguably no other restaurant in Old Oakland has left more of an imprint than Cosecha. Until it shuttered in 2021, the Mexican eatery inside of Swan Market was one of the most influential restaurants in the Bay Area’s culinary landscape.\u003c/p>\n\u003cp>Coincidentally, Cosecha is also where Listman and Keval first met, around 2013. At that time, Listman was working with the restaurant to host mezcal tastings and community art events; Keval and PKC used Cosecha as a space to provide meals and build a shared foundation.\u003c/p>\n\u003cfigure id=\"attachment_13987858\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha.jpg\" alt=\"Crowded communal tables inside a food hall.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Old Oakland’s now-shuttered Cosecha was an instrumental space for Keval and Listman, who used it as a venue to build community and inspire change. For a time, the restaurant hosted many of the People’s Kitchen Collective’s pay-what-you-can meals. \u003ccite>(Courtesy of Saqib Keval/People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In terms of how they started dating? Listman tells it straight: “We never really engaged that much. We were busy in our own worlds.” That changed when the Museum of the African Diaspora in San Francisco began a new residency program and recruited both Listman and PKC to collaborate. Listman smiles: “We worked together on that event, and since then we’ve never stopped working together.”\u003c/p>\n\u003cp>Dominica Rice-Cisneros, Cosecha’s Mexican American chef-owner who currently runs Bombera in the Dimond District, knew the couple long before they were star chefs. Since hosting them in her own restaurant, Rice-Cisneros has gone on to eat at every version of Masala y Maiz (the restaurant has had different locations in Mexico City over the years).\u003c/p>\n\u003cp>“I consider Masala y Maiz to be a Bay Area restaurant, even though they’re in Mexico City. They are an Oakland restaurant, to be exact. True Oakland,” says Rice-Cisneros. “It’s definitely international and could do well everywhere, but first and foremost, it’s Oakland.”\u003c/p>\n\u003cfigure id=\"attachment_13987859\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987859\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25.jpg\" alt=\"A man in a blue apron looking down in front of a restaurant kitchen, where a woman is prepping food.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keval drew inspiration from Bay Area restaurants like Cosecha, where he is pictured in this photo during his People’s Kitchen Collective years. Behind him, Cosecha chef Dominica Rice-Cisneros prepares a dish. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, Rice-Cisneros will be flying out to attend the International Women’s Month dinner that Listman is hosting along with Assil and Yun. It doesn’t get more Bay Area — in Mexico City — than that.\u003c/p>\n\u003cp>While Rice-Cisneros doesn’t take any credit for uniting Listman and Keval, the couple is quick to point out Cosecha’s importance in their lives. “Masala y Maiz exists because of Dominica. We exist [as a couple] because of PKC,” Keval says.\u003c/p>\n\u003cp>In 2017, Listman moved back to Mexico to research corn foodways. Unexpectedly, she was offered an on-the-spot chance to take over a dining space in the San Miguel Chapultepec neighborhood of Mexico City. She took the risk and invited Keval to join her. The result was Masala y Maiz: a combination of their families’ migratory lineages told through recipes. In that way, the restaurant is an expression of all of the parallels that Listman and Keval have found between the cuisines and cultures across Mexico, India, Kenya and the Global South at large.\u003c/p>\n\u003cfigure id=\"attachment_13987855\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib.jpg\" alt=\"A man and a woman, both in sunglasses, sit close together while the woman takes a selfie of the two of them with her phone.\" width=\"2000\" height=\"1337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In 2017, Listman and Keval left the Bay Area, where they had met and began dating, with the shared vision of changing the restaurant industry together. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The restaurant’s stature has only grown over the years as it moved into larger spaces and solidified itself as a culinary destination and activist force in Mexico City. But even as the couple was building out their restaurant, the Bay Area was always close to their hearts — and the Bay hadn’t forgotten about them, either. Listman notes that her former mentor, the legendary Slanted Door chef Charles Phan (who \u003ca href=\"https://www.kqed.org/arts/13970535/charles-phan-the-innovative-chef-of-sfs-slanted-door-has-died\">passed away last year\u003c/a>), supplied Masala y Maiz with its inaugural set of silverware. Eight years later, it’s still the crown jewel of the restaurant’s collection.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">\u003cspan style=\"color: #2b2b2b; font-weight: 400;\">[aside postID='arts_13960139,arts_13932089,arts_13912706']\u003c/span>\u003c/span>For Listman, the Bay resonates in their work — but it’s not the only factor. “The Bay Area is a very revolutionary place with incredible political movements,” she says. “But it’s not the only thing. A lot of the movements in Mexico and in different communities inform what we do.”\u003c/p>\n\u003cp>Keval is even more effusive in his praise of the Bay. “The thing about the restaurants in the Bay we worked at was that they showed us the possibilities of what a restaurant can be, and the authenticity of each person expressing who they are in their own way,” he says. “We learned what it means to do right by your employees and your team. We worked with chefs who cared, who worked alongside everyone else. That helped me form this idea of what a restaurant could be and how to critique patriarchy, capitalism and so forth. Oakland gave me space to try that out and tweak it and work on service and hospitality from a different point of view, one that was community-based and centered on dignity.”\u003c/p>\n\u003cfigure id=\"attachment_13987861\" class=\"wp-caption alignnone\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987861\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri.jpg\" alt=\"Two pairs of hands pressing down on banana leaves in a large pot.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">At Masala y Maiz, Listman and Keval combine culinary traditions from their respective backgrounds. \u003ccite>(Sana Javeri Kadri, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a fine dining industry where headlines about \u003ca href=\"https://www.nytimes.com/2026/03/07/dining/rene-redzepi-noma-abuse-allegations.html\">institutions abusing their workers\u003c/a> are not uncommon, and in which high-end establishments have a reputation of being financially inaccessible to the working class, Masala y Maiz’s egalitarian for-the-people, by-the-people mantras are far from the norm. But they’re deeply rooted in the Bay’s insurgent ecosystem, where Listman and Keval were shaped and influenced for years while also carving out space for themselves, long before Masala y Maiz’s opened its proverbial doors to would-be diners.\u003c/p>\n\u003cp>As Keval puts it, “That’s who we are, and that’s a direct line to the Bay. That won’t ever stop being home.”\u003c/p>\n\u003cp>After all, is there anything more truly Oakland than feeding revolutions, building cross-communal solidarity, and inviting everyone to share in discourse amid today’s hetero-capitalist dystopia — all while eating some of the best meals of your life?\u003c/p>\n\u003cp>\u003cem>Correction: An earlier version of this article credited chef Anthony Strong with providing Masala y Maiz’s first set of silverware. Strong was also a mentor to Listman, but Charles Phan of Slanted Door was the one who gifted them the silverware.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/masalaymaiz/\">\u003ci>Masala y Maiz\u003c/i>\u003c/a>\u003ci> (116 C. Artículo 123, Edificio Humboldt, Mexico City) is open every day from noon to 6 p.m., except on Tuesdays. On Wednesday, March 25 at 7:30 p.m., the restaurant will host its final International Women’s Month series dinner with chefs Reem Assil and Nite Yun. The communal meal will include a six-course collaborative tasting, with a welcome drink and tip included for $2,200 MXN, or roughly $115 USD, per person. \u003c/i>\u003ca href=\"https://www.exploretock.com/masala-y-maiz-mexico-city/event/595460\">\u003ci>Tickets here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen you first enter Masala y Maiz — a Michelin-starred renegade of a restaurant in Mexico City that has been profiled on Netflix’s “Chef’s Table” — you wouldn’t necessarily know that Oakland is at the heart of its soulful appeal. The concrete, brutalist design of the space denotes an air of Mexican modernism that’s unlike anything you’d find in the Bay Area.\u003c/p>\n\u003cp>Yet according to chef and co-owner Saqib Keval, a Northern California–raised son of Ethiopian and Kenyan immigrants of Indian descent, Oakland is central to the restaurant’s ethos.\u003c/p>\n\u003cp>“The restaurant feels like an extension of Oakland at times, in terms of the music, politics, culture, vibe,” says Keval, who opened Masala y Maiz with his wife Norma Listman in 2017. “It feels like an embassy. Oakland is a place we miss.”\u003c/p>\n\u003cp>Bay Area activists may remember Keval as one of the co-founders of the \u003ca href=\"https://www.instagram.com/peopleskitchencollective/\">People’s Kitchen Collective\u003c/a> (PKC), among Oakland’s most prominent food justice organizations. Listman, meanwhile, was born and raised in Texcoco, Mexico, before she migrated to the Bay in the ’90s to work as a multidisciplinary artist and, eventually, a chef, cutting her teeth at esteemed Oakland restaurants like Tamarindo, Bay Wolf and Camino.\u003c/p>\n\u003cfigure id=\"attachment_13987860\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant.jpg\" alt=\"Two chefs in blue aprons pose in front a restaurant, underneath massive cement columns.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keval and Listman stand in front of the current iteration of Masala y Maiz in Mexico City’s historic centro, where the restaurant relocated in 2024. \u003ccite>(Ana Lorenzana, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have Oakland tattooed on my leg,” she says. “We hold a romantic idea of the Bay, of Oakland, when we lived there. I was in the Bay for 18 years. I was there during the dot-com boom in ’99. A lot of our communities left because it was impossible to keep going. The restaurants we worked at closed because it wasn’t sustainable. [But] my mentors are still there, and that’s where I came into food.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland’s grassroots influences, along with Listman’s leftist upbringing in Mexico and Keval’s anti-colonial literary acumen from his days at Humboldt State University, are unmistakably baked into Masala y Maiz’s philosophies of collectivism, equity and universal workers rights. A few times a year, the restaurant hosts an “Eat What You Want, Pay What You Can” day, inviting anyone — particularly locals combating the rising cost of living in \u003ca href=\"https://www.cntraveler.com/story/how-gentrification-continues-to-change-mexico-city\">a gentrified Mexico City\u003c/a> — to enjoy a Michelin-starred meal, even if all they can afford to pay for it with is \u003ca href=\"https://www.bbc.com/travel/article/20250825-pay-what-you-can-for-a-michelin-starred-meal\">a piece of original artwork\u003c/a>. The restaurant’s regular menus often feature large, bilingual phrases (“white supremacy is terrorism”; “que vive la lucha femenista”) based on current events.\u003c/p>\n\u003cfigure id=\"attachment_13987864\" class=\"wp-caption alignnone\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread.jpg\" alt=\"A spread of dishes on a black tabletop — included is a fried whole fish, head-on shrimp, and salad.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">An impressive spread of dishes at Masa y Maiz. \u003ccite>(Ana Lorenzana, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The messaging isn’t only for show. In 2018, the restaurant boldly \u003ca href=\"https://www.latimes.com/world/la-fg-mexico-city-restaurant-20180512-story.html\">challenged Mexico City’s government officials, citing corruption and bribery\u003c/a> — and somehow came out unscathed. Then, in 2021, the couple rejected a nomination from The World’s 50 Best Restaurants, calling out the foundation’s culture of exploitation and sexism. On Instagram, Masala y Maiz expressed gratitude for the recognition but didn’t yield, sharing a graphic of their invitation with a simple declaration overlaid above it: “\u003ca href=\"https://www.instagram.com/p/CVfYu1rL7oT/?utm_source=ig_embed&ig_rid=128bcd38-88bd-4ee8-a174-fd802ac4baae\">Gracias, no gracias\u003c/a>.”\u003c/p>\n\u003cp>The restaurant has also proven to be far more transcendentally savory than any political statement could ever be on its own. That is to say, the food at Masala y Maiz reflects Oakland’s famously eclectic flavors, too, in its borderless mezcla of dishes: an edible tapestry of Mexican, Indian and East African ingredients. The paratha quesadilla, which uses Indian flatbread in place of traditional corn tortillas, is gooed together with a blend of Oaxacan and mountain cheeses, and served with a side of salsa machaar and herb salad. For the uttapam gordita, a thick South Indian dosa is topped with shredded barbacoa, butternut squash, asparagus and housemade salsa verde. And the esquites makai pakka is a Kenyan remix of Mexico’s beloved street corn dish — a stir of corn kernels, coconut milk, East African masala, in-house mayo and crumbled cotija cheese.\u003c/p>\n\u003cfigure id=\"attachment_13987857\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri.jpg\" alt='Jars of spices labeled with blue tape, including dried guajillo chiles, gunpowder pudi, \"Black Power cardamom,\" methi, and maiz morado.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Masala y Maiz is a reflection of the commonalities that can be found across different parts the Global South. Here, a medley of Indian and East African spices sit beside Mexican ingredients like corn and guajillo peppers. \u003ccite>(Sana Javeri Kadri, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Oakland’s past is reuniting with the restaurant’s present. This month, the duo is hosting a series of guest chefs from all over the map in honor of International Women’s Month. The series concludes on March 25 with a collaborative dinner featuring the Bay Area’s own Reem Assil and Nite Yun, who both got their starts cooking in Oakland. Yun is the Cambodian American chef behind \u003ca href=\"https://www.instagram.com/lunette_cambodia/?hl=en\">Lunette\u003c/a>, a Khmer gem inside San Francisco’s Ferry Building; Assil is the Palestinian-Syrian culinary icon of \u003ca href=\"https://www.instagram.com/reemscalifornia/?hl=en\">Reem’s California\u003c/a> fame. The Bay Area chefs will join Listman and Keval to create a one-night-only menu centered on their Cambodian, Palestinian, Indian and Mexican backgrounds.\u003c/p>\n\u003cp>But how, exactly, did this internationally renowned hot spot make it all the way down from the East Bay’s shores to the pedestrian-flooded Centro Historico of Mexico’s trending capital to begin with? As it turns out, it all originated as an Oakland love story.\u003c/p>\n\u003ch2>\u003cb>‘Ghetto Gourmet’ and PKC — that’s Oakland, baby\u003c/b>\u003c/h2>\n\u003cp>Before landing in the Bay, Listman had already established herself in the Mexico City art scene. When she came to Oakland in the ’90s, she quickly felt aligned with the city’s unsugared realness, laissez-faire freedoms and artistic energy.\u003c/p>\n\u003cp>“The art scene in Mexico City was very avant garde, very international; it was exhilarating. I felt the same way about Oakland,” she says. “I fell in love with the Bay because of that similarity.”\u003c/p>\n\u003cfigure id=\"attachment_13987856\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview.jpg\" alt=\"In a backyard garden setting, a woman holds out a glass while a bottle wine is poured.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">During her time in the Bay Area, Listman brought her expertise and insights as a Mexican-born artist and foodmaker, helping to introduce mezcal to the region when it was relatively unknown. Alice Waters (right), the founder of Berkeley’s Chez Panisse, attended one of her many events. \u003ccite>(Courtesy of Norma Listman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Oakland of then was far from the Oakland it would later become. In the mid-to-late aughts, Listman was among the first in the Town to purvey artisanal mezcals, when the libation was more mystery than mainstream. She was invested in fashion, design and art. In 2007, she began working front of house in various Oakland restaurants, eventually finding her way into the kitchen. She independently experimented with food as “a medium to tell a larger story” with a project she titled The Salon Dinners. Listman recalls those times fondly, before tech billionaires and real estate conglomerates completely uprooted artists and storytellers in the region, leaving a profit-driven void in their wake.\u003c/p>\n\u003cp>“In Oakland, there was something called ‘Ghetto Gourmet,’” she says, describing an underground community of Oakland home chefs at the time, not to be confused with the \u003ca href=\"https://www.kqed.org/news/11777049/why-berkeleys-gourmet-ghetto-is-a-problem-for-some\">Berkeley neighborhood nickname\u003c/a>. “People turned their houses into restaurants and began cooking their own food, and it was a really cool time in the Bay to have those experiences and to be experimental. I started doing some of that,” she says. “Where I grew up in Mexico, it’s common that some homes and garages and family dining rooms become restaurants to serve pozole or some other dish that the family matriarch does well. [My dinners] felt like a blend of that, in terms of food, but it was shot down by the health department. It lasted about a year and a half, and it was so cool.”\u003c/p>\n\u003cp>For Listman, these kinds of secretive, word-of-mouth happenings gave Oakland a certain magic in that era: “Everything felt more hidden. Back in the day, nothing was exposed, but if you knocked on a door, it would open, and then another door would appear behind that, and you’d find another world inside.”\u003c/p>\n\u003cfigure id=\"attachment_13987852\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987852\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders.jpg\" alt=\"Three smiling people posing for a portrait in front of some kitchen cabinets\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left: Keval, Sita Kuratomi Bhaumik and Jocelyn Jackson. The trio co-founded the People’s Kitchen Collective in 2007. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During that same span, \u003ca href=\"https://edibleeastbay.com/2013/08/15/it-takes-a-grandmother/\">Keval was steadily building up PKC\u003c/a>, a political food program he co-founded in 2007, along with \u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\">Jocelyn Jackson\u003c/a> and Sita Kuratomi Bhaumik, in West Oakland. Keval’s evolving vision for the group was inspired by his involvement in Bay Area restaurants and food nonprofits like Restaurant Opportunities Center of the Bay Area and West Oakland’s People’s Grocery, where he helped start the \u003ca href=\"https://growingjusticeinstitute.wordpress.com/about/\">Growing Justice Institute\u003c/a>, an urban agriculture project.\u003c/p>\n\u003cp>During Keval’s time at PKC, the group held large-scale public meals at Lil Bobby Hutton Park and at urban farms. Keval developed connections with Black Panther Party elders and collaborated with the likes of \u003ca href=\"https://www.kqed.org/arts/13986932/emory-douglas-black-panthers-interview-aaacc-san-francisco\">Emory Douglas\u003c/a>, who created the fliers for the Panthers’ Free Breakfast Program. “It was formative for me as an activist to understand the Black and Brown and South Asian history in the Bay. That was vital,” Keval says of those years.\u003c/p>\n\u003cp>Soon, his path would serendipitously intertwine with Listman’s.\u003c/p>\n\u003cfigure id=\"attachment_13987854\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987854\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc.jpg\" alt=\"A South Asian man holds a microphone as he addresses a gathering. His apron reads, "The People's Kitchen, OAKLAND."\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-1536x1026.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In the late aughts, Keval rallied communities in Oakland and beyond around issues of food justice. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>The road to Mexico City goes through Old Oakland\u003c/b>\u003c/h2>\n\u003cp>Maybe no neighborhood in Oakland has retained as much of the clandestine enchantment that Listman recalls from the aughts as Old Oakland. In particular, the historic downtown neighborhood — crammed into a quaint, relatively sleepy four-block nook bordered by Highway 880, Broadway and West Oakland — has long been an overlooked bastion of delicious eats.\u003c/p>\n\u003cp>In prior years, you’d find beloved gems like \u003ca href=\"https://www.kqed.org/arts/13910410/miss-ollies-oakland-closing\">Miss Ollie’s\u003c/a>, the Afro-Caribbean staple with out-the-door lines, where Keval once worked. Today, the neighborhood is home to chef Anthony Salguero’s Popoca, a Salvadoran American powerhouse slanging woodfired pupusas, and \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’chaka\u003c/a>, Oakland’s first and only Haitian joint (which, poetically, exists in the former Miss Ollie’s space). But arguably no other restaurant in Old Oakland has left more of an imprint than Cosecha. Until it shuttered in 2021, the Mexican eatery inside of Swan Market was one of the most influential restaurants in the Bay Area’s culinary landscape.\u003c/p>\n\u003cp>Coincidentally, Cosecha is also where Listman and Keval first met, around 2013. At that time, Listman was working with the restaurant to host mezcal tastings and community art events; Keval and PKC used Cosecha as a space to provide meals and build a shared foundation.\u003c/p>\n\u003cfigure id=\"attachment_13987858\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha.jpg\" alt=\"Crowded communal tables inside a food hall.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Old Oakland’s now-shuttered Cosecha was an instrumental space for Keval and Listman, who used it as a venue to build community and inspire change. For a time, the restaurant hosted many of the People’s Kitchen Collective’s pay-what-you-can meals. \u003ccite>(Courtesy of Saqib Keval/People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In terms of how they started dating? Listman tells it straight: “We never really engaged that much. We were busy in our own worlds.” That changed when the Museum of the African Diaspora in San Francisco began a new residency program and recruited both Listman and PKC to collaborate. Listman smiles: “We worked together on that event, and since then we’ve never stopped working together.”\u003c/p>\n\u003cp>Dominica Rice-Cisneros, Cosecha’s Mexican American chef-owner who currently runs Bombera in the Dimond District, knew the couple long before they were star chefs. Since hosting them in her own restaurant, Rice-Cisneros has gone on to eat at every version of Masala y Maiz (the restaurant has had different locations in Mexico City over the years).\u003c/p>\n\u003cp>“I consider Masala y Maiz to be a Bay Area restaurant, even though they’re in Mexico City. They are an Oakland restaurant, to be exact. True Oakland,” says Rice-Cisneros. “It’s definitely international and could do well everywhere, but first and foremost, it’s Oakland.”\u003c/p>\n\u003cfigure id=\"attachment_13987859\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987859\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25.jpg\" alt=\"A man in a blue apron looking down in front of a restaurant kitchen, where a woman is prepping food.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keval drew inspiration from Bay Area restaurants like Cosecha, where he is pictured in this photo during his People’s Kitchen Collective years. Behind him, Cosecha chef Dominica Rice-Cisneros prepares a dish. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, Rice-Cisneros will be flying out to attend the International Women’s Month dinner that Listman is hosting along with Assil and Yun. It doesn’t get more Bay Area — in Mexico City — than that.\u003c/p>\n\u003cp>While Rice-Cisneros doesn’t take any credit for uniting Listman and Keval, the couple is quick to point out Cosecha’s importance in their lives. “Masala y Maiz exists because of Dominica. We exist [as a couple] because of PKC,” Keval says.\u003c/p>\n\u003cp>In 2017, Listman moved back to Mexico to research corn foodways. Unexpectedly, she was offered an on-the-spot chance to take over a dining space in the San Miguel Chapultepec neighborhood of Mexico City. She took the risk and invited Keval to join her. The result was Masala y Maiz: a combination of their families’ migratory lineages told through recipes. In that way, the restaurant is an expression of all of the parallels that Listman and Keval have found between the cuisines and cultures across Mexico, India, Kenya and the Global South at large.\u003c/p>\n\u003cfigure id=\"attachment_13987855\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib.jpg\" alt=\"A man and a woman, both in sunglasses, sit close together while the woman takes a selfie of the two of them with her phone.\" width=\"2000\" height=\"1337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In 2017, Listman and Keval left the Bay Area, where they had met and began dating, with the shared vision of changing the restaurant industry together. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The restaurant’s stature has only grown over the years as it moved into larger spaces and solidified itself as a culinary destination and activist force in Mexico City. But even as the couple was building out their restaurant, the Bay Area was always close to their hearts — and the Bay hadn’t forgotten about them, either. Listman notes that her former mentor, the legendary Slanted Door chef Charles Phan (who \u003ca href=\"https://www.kqed.org/arts/13970535/charles-phan-the-innovative-chef-of-sfs-slanted-door-has-died\">passed away last year\u003c/a>), supplied Masala y Maiz with its inaugural set of silverware. Eight years later, it’s still the crown jewel of the restaurant’s collection.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">\u003cspan style=\"color: #2b2b2b; font-weight: 400;\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>For Listman, the Bay resonates in their work — but it’s not the only factor. “The Bay Area is a very revolutionary place with incredible political movements,” she says. “But it’s not the only thing. A lot of the movements in Mexico and in different communities inform what we do.”\u003c/p>\n\u003cp>Keval is even more effusive in his praise of the Bay. “The thing about the restaurants in the Bay we worked at was that they showed us the possibilities of what a restaurant can be, and the authenticity of each person expressing who they are in their own way,” he says. “We learned what it means to do right by your employees and your team. We worked with chefs who cared, who worked alongside everyone else. That helped me form this idea of what a restaurant could be and how to critique patriarchy, capitalism and so forth. Oakland gave me space to try that out and tweak it and work on service and hospitality from a different point of view, one that was community-based and centered on dignity.”\u003c/p>\n\u003cfigure id=\"attachment_13987861\" class=\"wp-caption alignnone\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987861\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri.jpg\" alt=\"Two pairs of hands pressing down on banana leaves in a large pot.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">At Masala y Maiz, Listman and Keval combine culinary traditions from their respective backgrounds. \u003ccite>(Sana Javeri Kadri, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a fine dining industry where headlines about \u003ca href=\"https://www.nytimes.com/2026/03/07/dining/rene-redzepi-noma-abuse-allegations.html\">institutions abusing their workers\u003c/a> are not uncommon, and in which high-end establishments have a reputation of being financially inaccessible to the working class, Masala y Maiz’s egalitarian for-the-people, by-the-people mantras are far from the norm. But they’re deeply rooted in the Bay’s insurgent ecosystem, where Listman and Keval were shaped and influenced for years while also carving out space for themselves, long before Masala y Maiz’s opened its proverbial doors to would-be diners.\u003c/p>\n\u003cp>As Keval puts it, “That’s who we are, and that’s a direct line to the Bay. That won’t ever stop being home.”\u003c/p>\n\u003cp>After all, is there anything more truly Oakland than feeding revolutions, building cross-communal solidarity, and inviting everyone to share in discourse amid today’s hetero-capitalist dystopia — all while eating some of the best meals of your life?\u003c/p>\n\u003cp>\u003cem>Correction: An earlier version of this article credited chef Anthony Strong with providing Masala y Maiz’s first set of silverware. Strong was also a mentor to Listman, but Charles Phan of Slanted Door was the one who gifted them the silverware.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/masalaymaiz/\">\u003ci>Masala y Maiz\u003c/i>\u003c/a>\u003ci> (116 C. Artículo 123, Edificio Humboldt, Mexico City) is open every day from noon to 6 p.m., except on Tuesdays. On Wednesday, March 25 at 7:30 p.m., the restaurant will host its final International Women’s Month series dinner with chefs Reem Assil and Nite Yun. The communal meal will include a six-course collaborative tasting, with a welcome drink and tip included for $2,200 MXN, or roughly $115 USD, per person. \u003c/i>\u003ca href=\"https://www.exploretock.com/masala-y-maiz-mexico-city/event/595460\">\u003ci>Tickets here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-lesbian-archives-directory-of-dreams-glbt-historical-society-san-francisco",
"title": "In the 1970s, Bay Area Lesbians Created Their Own Economy",
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"content": "\u003cp>In the 1970s, Valencia Street in \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a>’s Mission District became a lesbian cultural corridor.\u003c/p>\n\u003cp>Women could openly hold hands at Artemis Cafe, clink glasses at Amelia’s and debate politics at the Old Wives’ Tales bookstore. Lesbian hairstylists and mechanics offered basic goods and services without harassment. Flyers advertised apprenticeships in male-dominated trades and legal help for navigating divorces from men.\u003c/p>\n\u003cp>Now, more than 50 years later, San Francisco boasts only a \u003ca href=\"https://missionlocal.org/2025/08/sf-lesbian-bars-girls-and-gays/\">small handful of lesbian bars\u003c/a>. Nationwide, experts say establishments serving women-loving women are \u003ca href=\"https://www.autostraddle.com/lesbian-bars-disappearing/\">in danger of going extinct\u003c/a>. It’s a drastic change from the vast lesbian ecosystem that once offered a supportive lifeline in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You have to remember that many women who were identifying as lesbians were excluded from mainstream society — they couldn’t get jobs, couldn’t really be in formal education spaces,” says Dr. Kerby Lynch, the interim director of the \u003ca href=\"https://www.bayarealesbianarchives.org/\">Bay Area Lesbian Archives\u003c/a>.\u003c/p>\n\u003cp>At the GLBT Historical Society Museum in the Castro, Bay Area Lesbian Archives presents a new exhibit, \u003cem>\u003ca href=\"https://www.glbthistory.org/dreams\">Directory of Dreams: Bay Area Lesbian Economies and Radical Care, 1970–1995\u003c/a>,\u003c/em> which traces the history of an organized, self-sustaining community.\u003c/p>\n\u003cfigure id=\"attachment_13987662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kerby Lynch, lead curator of the exhibit ‘Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,’ poses for a portrait at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid today’s resurgence of \u003ca href=\"https://www.theguardian.com/world/2026/mar/05/gen-z-men-baby-boomers-wives-should-obey-husbands\">conservative gender politics\u003c/a> and \u003ca href=\"https://prismreports.org/2026/02/09/anti-transgender-bills-2026/\">anti-LGBTQ+ legislation\u003c/a>, Lynch wants to provide an example to young queer people on how to thrive in spite of discrimination.\u003c/p>\n\u003cp>“Here we are once again, in the contemporary,” Lynch says, “needing to rely on each other and create these mutual aid networks.”\u003c/p>\n\u003ch2>The women’s liberation movement left lesbians behind\u003c/h2>\n\u003cp>On the walls of the GLBT Historical Society Museum, carefully arranged flyers, maps and business directories offer a glimpse of the lesbian scene that once flourished along Valencia Street.\u003c/p>\n\u003cp>“It was so much about having community. Lesbians had been so invisible for so long, and so harassed,” Carol Seajay says.\u003c/p>\n\u003cp>In 1976, Seajay co-founded the feminist bookstore Old Wives’ Tales, a flyer for which hangs in the exhibit. It was a narrow storefront that carried novels by women authors like Zora Neale Hurston and Toni Morrison.\u003c/p>\n\u003cfigure id=\"attachment_13987697\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987697\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Mahoney (left) and Carol Seajay (right) pose for a portrait at the exhibit ‘Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,’ on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. Seajay co-founded Old Wives’ Tales bookstore in 1976. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tucked in the back were shelves of lesbian books where one could browse away from prying eyes. Every weekend, the store would fill up with women who’d stop in between errands at the laundromat and grocery co-op to have spirited discussions.\u003c/p>\n\u003cp>“We needed a place for women to go, to be able to talk with each other about this women’s liberation stuff, gay liberation stuff,” Seajay says.\u003c/p>\n\u003cp>In the 1970s, the women’s liberation movement made many important legal gains. “On paper, we were getting more freedoms,” Lynch says. “But for lesbians, they were largely still feeling excluded.”\u003c/p>\n\u003cfigure id=\"attachment_13987659\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13987659 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“Directory of Dreams,” an archival exhibit of lesbian history in the Bay Area, is installed in the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roe v. Wade gave women the right to end unwanted pregnancies, and the Equal Opportunity Credit Act allowed women to acquire loans and credit without male co-signers. Women began to buy homes and start businesses for the first time. Yet many straight women saw lesbians as a threat to the women’s liberation movement, and job and housing discrimination against LGBTQ+ people remained rampant.\u003c/p>\n\u003cp>“In the ’70s, you’re in a time period of, really, lesbians coming together and being like, ‘You know, if we’re gonna be excluded by these dominant societies, let’s create some counterculture,’” Lynch says.\u003c/p>\n\u003cp>A crucial connector for the Bay Area’s lesbian community was Gloria Pell, known to friends simply as Pell. She became active on Valencia Street while working at Old Wives’ Tales. In the early ’80s, she opened Woman Crafts West, a small boutique that carried work by hundreds of female artisans.\u003c/p>\n\u003cfigure id=\"attachment_13987686\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2.jpg\" alt=\"\" width=\"1900\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-1536x1078.jpg 1536w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Gloria Pell (right), known to friends simply as Pell, was a crucial connector of the lesbian community on Valencia Street in the 1980s. \u003ccite>(Bay Area Lesbian Archives/Pell Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the GLBT Historical Society, \u003cem>Directory of Dreams\u003c/em> features a display of crafts from Pell’s collection: shapely goddess statues, a flower-like labia sculpture and ceramic earrings in the shape of breasts.\u003c/p>\n\u003cp>Pell didn’t just break barriers so she could succeed; she also helped build the infrastructure that allowed other lesbians to thrive.\u003c/p>\n\u003cp>“She was the central part of organizing different business owners being tenants on that street,” Lynch says. “She was a part of a feminist credit union helping women open up their own bank accounts, coming up with pool funds — like, really, startup funding — for other women.”\u003c/p>\n\u003ch2>Lesbians strengthened the LGBTQ+ community during crisis\u003c/h2>\n\u003cp>In the ’80s, lesbian-owned businesses offered crucial support for gay men during the AIDS epidemic. Featured prominently in the exhibit is the \u003ca href=\"https://www.kqed.org/bayareabites/29308/lgbt-pride-remembering-the-brick-hut-cafe-part-1\">Brick Hut Cafe\u003c/a>, a Berkeley institution that drew lines down the block for coffee and muffins, as well as returning customers like Angela Davis and a free-spirited crew of gay men nicknamed the Shattuck Street Fairies.\u003c/p>\n\u003cp>On the wall of GBLT Historical Society, a 1992 poem by a customer named Cynthia describes the scene: “Flannel shirted wimmin / pierced and tattooed dykes / Bitchin’ dreadlocks, cool shaved heads / Feeding old folks and young tikes.”\u003c/p>\n\u003cfigure id=\"attachment_13987678\" class=\"wp-caption alignleft\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997.jpg\" alt=\"\" width=\"1125\" height=\"676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997-768x461.jpg 768w\" sizes=\"auto, (max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Davenport and Joan Antonuccio at The Brick Hut Cafe in the ’90s. \u003ccite>(Courtesy of Ace Morgan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As AIDS began to decimate the gay community, and government officials ignored and stigmatized the disease, queer institutions like the Brick Hut became crucial resources.\u003c/p>\n\u003cp>“We put up information, and we talked to people,” Brick Hut co-founder Sharon Davenport says. “You know, like, ‘Am I going to get AIDS from a toilet seat?’ No. ‘If I sit next to a gay guy, am I gonna get AIDS?’ No.”\u003c/p>\n\u003cp>During this era, lesbians across the country stepped up as advocates. They organized blood drives, protested for better public health policies, and even offered bedside care for gay men with AIDS whose families were afraid to come near them. At the Brick Hut, they also offered social support. “The important part was the personal interaction with people,” Davenport says. “So they wouldn’t be afraid.”\u003c/p>\n\u003cp>For Lynch of the Bay Area Lesbian Archives, it’s stories like these that show that the establishments honored in \u003cem>Directory of Dreams\u003c/em> are much more than just businesses.\u003c/p>\n\u003cp>“We’re sustaining ourselves, providing for ourselves,” she says. “But we’re also at the same time organizing ourselves, collectivizing ourselves.”\u003c/p>\n\u003ch2>Younger generations take notes from lesbian herstory\u003c/h2>\n\u003cp>As it celebrates visionary lesbian activists and community builders, \u003cem>Directory of Dreams\u003c/em> is also honest about where the movement fell short. The exhibition’s wall text notes that racism at times alienated women of color from lesbian spaces.\u003c/p>\n\u003cp>“It was messy,” Lynch says. “I mean, [white women] were coming into consciousness that they’re racist for the first time. Black women are coming into the consciousness that, ‘Oh my god, we’ve been serving Black men and the Black power movement, and we haven’t thought about our needs for ourselves.’”\u003c/p>\n\u003cfigure id=\"attachment_13987665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests observe the exhibit, “Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,” on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Absent from the exhibit are the lesbian separatists who discriminated against trans women and wanted to \u003ca href=\"https://www.kqed.org/arts/13977595/sandy-stone-olivia-records-jimi-hendrix-girl-island-documentary\">exclude them\u003c/a>. In the ’70s, many \u003ca href=\"https://www.kqed.org/arts/13976295/1970s-gay-transgender-rights-movement-san-francisco-pride\">gays and lesbians seeking mainstream acceptance\u003c/a> sought to distance themselves from trans people, who faced even worse discrimination. During our interview, Lynch acknowledged that history.\u003c/p>\n\u003cp>“It’s the good, the bad, the ugly, but I love how those women got the conversation started for us to continue today,” she says.\u003c/p>\n\u003cp>By the mid-1990s, as an influx of young artists began to transform the Mission District, long-running women’s spaces like Woman Crafts West and Old Wives’ Tales shut their doors. Many of the reasons were economic: Rising rents on Valencia Street meant that people could no longer afford to run radical spaces. In Berkeley, the Brick Hut shuttered because it was $30,000 in debt.\u003c/p>\n\u003cfigure id=\"attachment_13987663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests observe the exhibit, “Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,” on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think some of the generations since then are kind of pissed that we let it go,” Seajay of Old Wives’ Tales says. “I am, too. I share that.”\u003c/p>\n\u003cp>Today, she wants this history to inspire young people to carry on that legacy. “You want something, make it happen,” she says. “You can do it.”\u003c/p>\n\u003cp>At the opening reception of \u003cem>Directory of Dreams\u003c/em> on March 11, lesbians and queer people in their 20s, 30s and 40s mingled alongside elders who shaped this golden era. Among those taking in the display of Pell’s goddess-themed jewelry and sculptures were Stephanie and Etecia Burrell, a couple who run The Sanctuary, an eclectic shop in Oakland that offers wellness services rooted in West African spiritual traditions.\u003c/p>\n\u003cfigure id=\"attachment_13987676\" class=\"wp-caption aligncenter\" style=\"max-width: 1974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival.jpg\" alt=\"\" width=\"1974\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival.jpg 1974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-1536x1213.jpg 1536w\" sizes=\"auto, (max-width: 1974px) 100vw, 1974px\">\u003cfigcaption class=\"wp-caption-text\">Gloria Pell (fourth from right) and friends pose in front of her shop, Woman Crafts West. In the 1980s and ’90s, it was a prominent fixture of the lesbian cultural corridor on Valencia Street in San Francisco. \u003ccite>(Bay Area Lesbian Archives/Pell Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Burrells are both especially inspired by Pell’s legacy as a Black lesbian community builder. “It actually makes me feel like, ‘Wow, I can relax, I can feel more of what I’m doing and the power of it because someone else did it,’” Stephanie says. “And it gives me a sense of relief, a sense of calm. A sense like, ‘You got this.’”\u003c/p>\n\u003cp>The lesbian community in today’s Bay Area looks much different than it did during the second-wave feminist movement. Many millennials and Gen Z-ers opt for terms like “queer” and “sapphic” when throwing parties and events, so as not to exclude trans, nonbinary, bisexual or pansexual people. At queer parties raising money for immigration defense or humanitarian aid in Gaza, there’s a greater mindfulness around the intersections of gender, sexuality, race, class, disability and immigration status.\u003c/p>\n\u003cp>Yet Lynch says it’s crucial to learn from those who paved the way. As conservative legislators continue to attack LGBTQ+ rights and civil liberties more broadly, she wants \u003cem>Directory of Dreams\u003c/em> to spark people’s imaginations for how to thrive, even amid a hostile political climate.\u003c/p>\n\u003cp>“This is not a mausoleum — these are instructions,” Lynch told the crowd at the opening. “Each flyer, each menu, each business card tucked away is a small declaration. ‘We were here, we built this, and you can build it too.’ Because the question is not whether these women were extraordinary. Of course they were. The real question is, what happens when we remember that survival has always been collective?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1970s, Valencia Street in \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a>’s Mission District became a lesbian cultural corridor.\u003c/p>\n\u003cp>Women could openly hold hands at Artemis Cafe, clink glasses at Amelia’s and debate politics at the Old Wives’ Tales bookstore. Lesbian hairstylists and mechanics offered basic goods and services without harassment. Flyers advertised apprenticeships in male-dominated trades and legal help for navigating divorces from men.\u003c/p>\n\u003cp>Now, more than 50 years later, San Francisco boasts only a \u003ca href=\"https://missionlocal.org/2025/08/sf-lesbian-bars-girls-and-gays/\">small handful of lesbian bars\u003c/a>. Nationwide, experts say establishments serving women-loving women are \u003ca href=\"https://www.autostraddle.com/lesbian-bars-disappearing/\">in danger of going extinct\u003c/a>. It’s a drastic change from the vast lesbian ecosystem that once offered a supportive lifeline in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You have to remember that many women who were identifying as lesbians were excluded from mainstream society — they couldn’t get jobs, couldn’t really be in formal education spaces,” says Dr. Kerby Lynch, the interim director of the \u003ca href=\"https://www.bayarealesbianarchives.org/\">Bay Area Lesbian Archives\u003c/a>.\u003c/p>\n\u003cp>At the GLBT Historical Society Museum in the Castro, Bay Area Lesbian Archives presents a new exhibit, \u003cem>\u003ca href=\"https://www.glbthistory.org/dreams\">Directory of Dreams: Bay Area Lesbian Economies and Radical Care, 1970–1995\u003c/a>,\u003c/em> which traces the history of an organized, self-sustaining community.\u003c/p>\n\u003cfigure id=\"attachment_13987662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kerby Lynch, lead curator of the exhibit ‘Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,’ poses for a portrait at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid today’s resurgence of \u003ca href=\"https://www.theguardian.com/world/2026/mar/05/gen-z-men-baby-boomers-wives-should-obey-husbands\">conservative gender politics\u003c/a> and \u003ca href=\"https://prismreports.org/2026/02/09/anti-transgender-bills-2026/\">anti-LGBTQ+ legislation\u003c/a>, Lynch wants to provide an example to young queer people on how to thrive in spite of discrimination.\u003c/p>\n\u003cp>“Here we are once again, in the contemporary,” Lynch says, “needing to rely on each other and create these mutual aid networks.”\u003c/p>\n\u003ch2>The women’s liberation movement left lesbians behind\u003c/h2>\n\u003cp>On the walls of the GLBT Historical Society Museum, carefully arranged flyers, maps and business directories offer a glimpse of the lesbian scene that once flourished along Valencia Street.\u003c/p>\n\u003cp>“It was so much about having community. Lesbians had been so invisible for so long, and so harassed,” Carol Seajay says.\u003c/p>\n\u003cp>In 1976, Seajay co-founded the feminist bookstore Old Wives’ Tales, a flyer for which hangs in the exhibit. It was a narrow storefront that carried novels by women authors like Zora Neale Hurston and Toni Morrison.\u003c/p>\n\u003cfigure id=\"attachment_13987697\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987697\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Mahoney (left) and Carol Seajay (right) pose for a portrait at the exhibit ‘Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,’ on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. Seajay co-founded Old Wives’ Tales bookstore in 1976. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tucked in the back were shelves of lesbian books where one could browse away from prying eyes. Every weekend, the store would fill up with women who’d stop in between errands at the laundromat and grocery co-op to have spirited discussions.\u003c/p>\n\u003cp>“We needed a place for women to go, to be able to talk with each other about this women’s liberation stuff, gay liberation stuff,” Seajay says.\u003c/p>\n\u003cp>In the 1970s, the women’s liberation movement made many important legal gains. “On paper, we were getting more freedoms,” Lynch says. “But for lesbians, they were largely still feeling excluded.”\u003c/p>\n\u003cfigure id=\"attachment_13987659\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13987659 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“Directory of Dreams,” an archival exhibit of lesbian history in the Bay Area, is installed in the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roe v. Wade gave women the right to end unwanted pregnancies, and the Equal Opportunity Credit Act allowed women to acquire loans and credit without male co-signers. Women began to buy homes and start businesses for the first time. Yet many straight women saw lesbians as a threat to the women’s liberation movement, and job and housing discrimination against LGBTQ+ people remained rampant.\u003c/p>\n\u003cp>“In the ’70s, you’re in a time period of, really, lesbians coming together and being like, ‘You know, if we’re gonna be excluded by these dominant societies, let’s create some counterculture,’” Lynch says.\u003c/p>\n\u003cp>A crucial connector for the Bay Area’s lesbian community was Gloria Pell, known to friends simply as Pell. She became active on Valencia Street while working at Old Wives’ Tales. In the early ’80s, she opened Woman Crafts West, a small boutique that carried work by hundreds of female artisans.\u003c/p>\n\u003cfigure id=\"attachment_13987686\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2.jpg\" alt=\"\" width=\"1900\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-1536x1078.jpg 1536w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Gloria Pell (right), known to friends simply as Pell, was a crucial connector of the lesbian community on Valencia Street in the 1980s. \u003ccite>(Bay Area Lesbian Archives/Pell Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the GLBT Historical Society, \u003cem>Directory of Dreams\u003c/em> features a display of crafts from Pell’s collection: shapely goddess statues, a flower-like labia sculpture and ceramic earrings in the shape of breasts.\u003c/p>\n\u003cp>Pell didn’t just break barriers so she could succeed; she also helped build the infrastructure that allowed other lesbians to thrive.\u003c/p>\n\u003cp>“She was the central part of organizing different business owners being tenants on that street,” Lynch says. “She was a part of a feminist credit union helping women open up their own bank accounts, coming up with pool funds — like, really, startup funding — for other women.”\u003c/p>\n\u003ch2>Lesbians strengthened the LGBTQ+ community during crisis\u003c/h2>\n\u003cp>In the ’80s, lesbian-owned businesses offered crucial support for gay men during the AIDS epidemic. Featured prominently in the exhibit is the \u003ca href=\"https://www.kqed.org/bayareabites/29308/lgbt-pride-remembering-the-brick-hut-cafe-part-1\">Brick Hut Cafe\u003c/a>, a Berkeley institution that drew lines down the block for coffee and muffins, as well as returning customers like Angela Davis and a free-spirited crew of gay men nicknamed the Shattuck Street Fairies.\u003c/p>\n\u003cp>On the wall of GBLT Historical Society, a 1992 poem by a customer named Cynthia describes the scene: “Flannel shirted wimmin / pierced and tattooed dykes / Bitchin’ dreadlocks, cool shaved heads / Feeding old folks and young tikes.”\u003c/p>\n\u003cfigure id=\"attachment_13987678\" class=\"wp-caption alignleft\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997.jpg\" alt=\"\" width=\"1125\" height=\"676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997-768x461.jpg 768w\" sizes=\"auto, (max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Davenport and Joan Antonuccio at The Brick Hut Cafe in the ’90s. \u003ccite>(Courtesy of Ace Morgan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As AIDS began to decimate the gay community, and government officials ignored and stigmatized the disease, queer institutions like the Brick Hut became crucial resources.\u003c/p>\n\u003cp>“We put up information, and we talked to people,” Brick Hut co-founder Sharon Davenport says. “You know, like, ‘Am I going to get AIDS from a toilet seat?’ No. ‘If I sit next to a gay guy, am I gonna get AIDS?’ No.”\u003c/p>\n\u003cp>During this era, lesbians across the country stepped up as advocates. They organized blood drives, protested for better public health policies, and even offered bedside care for gay men with AIDS whose families were afraid to come near them. At the Brick Hut, they also offered social support. “The important part was the personal interaction with people,” Davenport says. “So they wouldn’t be afraid.”\u003c/p>\n\u003cp>For Lynch of the Bay Area Lesbian Archives, it’s stories like these that show that the establishments honored in \u003cem>Directory of Dreams\u003c/em> are much more than just businesses.\u003c/p>\n\u003cp>“We’re sustaining ourselves, providing for ourselves,” she says. “But we’re also at the same time organizing ourselves, collectivizing ourselves.”\u003c/p>\n\u003ch2>Younger generations take notes from lesbian herstory\u003c/h2>\n\u003cp>As it celebrates visionary lesbian activists and community builders, \u003cem>Directory of Dreams\u003c/em> is also honest about where the movement fell short. The exhibition’s wall text notes that racism at times alienated women of color from lesbian spaces.\u003c/p>\n\u003cp>“It was messy,” Lynch says. “I mean, [white women] were coming into consciousness that they’re racist for the first time. Black women are coming into the consciousness that, ‘Oh my god, we’ve been serving Black men and the Black power movement, and we haven’t thought about our needs for ourselves.’”\u003c/p>\n\u003cfigure id=\"attachment_13987665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests observe the exhibit, “Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,” on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Absent from the exhibit are the lesbian separatists who discriminated against trans women and wanted to \u003ca href=\"https://www.kqed.org/arts/13977595/sandy-stone-olivia-records-jimi-hendrix-girl-island-documentary\">exclude them\u003c/a>. In the ’70s, many \u003ca href=\"https://www.kqed.org/arts/13976295/1970s-gay-transgender-rights-movement-san-francisco-pride\">gays and lesbians seeking mainstream acceptance\u003c/a> sought to distance themselves from trans people, who faced even worse discrimination. During our interview, Lynch acknowledged that history.\u003c/p>\n\u003cp>“It’s the good, the bad, the ugly, but I love how those women got the conversation started for us to continue today,” she says.\u003c/p>\n\u003cp>By the mid-1990s, as an influx of young artists began to transform the Mission District, long-running women’s spaces like Woman Crafts West and Old Wives’ Tales shut their doors. Many of the reasons were economic: Rising rents on Valencia Street meant that people could no longer afford to run radical spaces. In Berkeley, the Brick Hut shuttered because it was $30,000 in debt.\u003c/p>\n\u003cfigure id=\"attachment_13987663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests observe the exhibit, “Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,” on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think some of the generations since then are kind of pissed that we let it go,” Seajay of Old Wives’ Tales says. “I am, too. I share that.”\u003c/p>\n\u003cp>Today, she wants this history to inspire young people to carry on that legacy. “You want something, make it happen,” she says. “You can do it.”\u003c/p>\n\u003cp>At the opening reception of \u003cem>Directory of Dreams\u003c/em> on March 11, lesbians and queer people in their 20s, 30s and 40s mingled alongside elders who shaped this golden era. Among those taking in the display of Pell’s goddess-themed jewelry and sculptures were Stephanie and Etecia Burrell, a couple who run The Sanctuary, an eclectic shop in Oakland that offers wellness services rooted in West African spiritual traditions.\u003c/p>\n\u003cfigure id=\"attachment_13987676\" class=\"wp-caption aligncenter\" style=\"max-width: 1974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival.jpg\" alt=\"\" width=\"1974\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival.jpg 1974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-1536x1213.jpg 1536w\" sizes=\"auto, (max-width: 1974px) 100vw, 1974px\">\u003cfigcaption class=\"wp-caption-text\">Gloria Pell (fourth from right) and friends pose in front of her shop, Woman Crafts West. In the 1980s and ’90s, it was a prominent fixture of the lesbian cultural corridor on Valencia Street in San Francisco. \u003ccite>(Bay Area Lesbian Archives/Pell Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Burrells are both especially inspired by Pell’s legacy as a Black lesbian community builder. “It actually makes me feel like, ‘Wow, I can relax, I can feel more of what I’m doing and the power of it because someone else did it,’” Stephanie says. “And it gives me a sense of relief, a sense of calm. A sense like, ‘You got this.’”\u003c/p>\n\u003cp>The lesbian community in today’s Bay Area looks much different than it did during the second-wave feminist movement. Many millennials and Gen Z-ers opt for terms like “queer” and “sapphic” when throwing parties and events, so as not to exclude trans, nonbinary, bisexual or pansexual people. At queer parties raising money for immigration defense or humanitarian aid in Gaza, there’s a greater mindfulness around the intersections of gender, sexuality, race, class, disability and immigration status.\u003c/p>\n\u003cp>Yet Lynch says it’s crucial to learn from those who paved the way. As conservative legislators continue to attack LGBTQ+ rights and civil liberties more broadly, she wants \u003cem>Directory of Dreams\u003c/em> to spark people’s imaginations for how to thrive, even amid a hostile political climate.\u003c/p>\n\u003cp>“This is not a mausoleum — these are instructions,” Lynch told the crowd at the opening. “Each flyer, each menu, each business card tucked away is a small declaration. ‘We were here, we built this, and you can build it too.’ Because the question is not whether these women were extraordinary. Of course they were. The real question is, what happens when we remember that survival has always been collective?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Today, San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/contemporary-jewish-museum\">Contemporary Jewish Museum\u003c/a> announced it will put its downtown San Francisco building up for sale. In a press release, the museum stated it would “identify a buyer complementary to the Yerba Buena neighborhood cultural district.”\u003c/p>\n\u003cp>The museum, once an active fixture of that neighborhood, has been closed to the public for 15 months. In November 2024, citing financial difficulties, the 42-year-old nonprofit announced it would \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">close its doors\u003c/a> for at least a year, halting exhibitions early and laying off at least 19 staff members.\u003c/p>\n\u003cp>Today’s news is not altogether a surprise. The CJM operated at a deficit for years leading up to its December 2024 closure. In the museum’s most-recent available tax filings, ending June 2024, expenses outpaced revenue by over $5.9 million.\u003c/p>\n\u003cp>“Our revenue and expenses have been out of balance for some time,” CJM Executive Director Kerry King told KQED in 2024. “And like many institutions, we’ve found one-off ways to solve for that. But that doesn’t really solve the underlying balance situation.”\u003c/p>\n\u003cp>The CJM’s 63,000-square-foot building on Jessie Square, designed by Daniel Libeskind and opened in 2008, was a significant — and seemingly insurmountable — part of that equation. It was expensive to maintain, and to keep exhibitions secure and climate controlled. In 2024, a bank-held construction-related loan accounted for $1.5 million of the CJM’s annual expenses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since the CJM’s temporary closure, the Bay Area arts and culture scene has watched \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">galleries\u003c/a>, museums and other arts institutions struggle. Most recently, in January, \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">California College of the Arts\u003c/a>, Northern California’s last nonprofit art and design school, announced it would permanently close at the end of the 2026–27 school year. Just weeks later, \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">Mission Cultural Center for Latino Arts suddenly collapsed\u003c/a> under financial distress.\u003c/p>\n\u003cp>The neighborhood directly around the CJM has had its own struggles. Nearby San Francisco Centre, formerly known as the Westfield mall, \u003ca href=\"https://www.kqed.org/forum/2010101912760/what-should-replace-san-francisco-centre\">fully closed in January 2026\u003c/a>. \u003ca href=\"https://www.sfchronicle.com/sf/article/city-college-close-downtown-sf-campus-enrollment-21959800.php\">City College will close its campus\u003c/a> at Fourth and Mission Streets this summer. The Mexican Museum, which was supposed to move in next door to the CJM, missed a key fundraising deadline last summer. That space remains empty.\u003c/p>\n\u003cp>Today’s announcement stated that the CJM is “engaged in curatorial planning,” including hiring for a curatorial position, collaborating on exhibitions and programming with other institutions, and planning for forums at which audience and supporters can provide feedback on the museum’s future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Over the past 15 months, CJM leadership has focused on distilling what the museum is that separates it from other institions and cultural centers. “One of the things in the work we did — looking at who we are, why we exist, what we can continue to be,” Kerry told KQED, “there was a clear point that we do need a space for convening, we need a space for exhibitions. It’s just part of our DNA, really. So we will be looking for that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/contemporary-jewish-museum\">Contemporary Jewish Museum\u003c/a> announced it will put its downtown San Francisco building up for sale. In a press release, the museum stated it would “identify a buyer complementary to the Yerba Buena neighborhood cultural district.”\u003c/p>\n\u003cp>The museum, once an active fixture of that neighborhood, has been closed to the public for 15 months. In November 2024, citing financial difficulties, the 42-year-old nonprofit announced it would \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">close its doors\u003c/a> for at least a year, halting exhibitions early and laying off at least 19 staff members.\u003c/p>\n\u003cp>Today’s news is not altogether a surprise. The CJM operated at a deficit for years leading up to its December 2024 closure. In the museum’s most-recent available tax filings, ending June 2024, expenses outpaced revenue by over $5.9 million.\u003c/p>\n\u003cp>“Our revenue and expenses have been out of balance for some time,” CJM Executive Director Kerry King told KQED in 2024. “And like many institutions, we’ve found one-off ways to solve for that. But that doesn’t really solve the underlying balance situation.”\u003c/p>\n\u003cp>The CJM’s 63,000-square-foot building on Jessie Square, designed by Daniel Libeskind and opened in 2008, was a significant — and seemingly insurmountable — part of that equation. It was expensive to maintain, and to keep exhibitions secure and climate controlled. In 2024, a bank-held construction-related loan accounted for $1.5 million of the CJM’s annual expenses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since the CJM’s temporary closure, the Bay Area arts and culture scene has watched \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">galleries\u003c/a>, museums and other arts institutions struggle. Most recently, in January, \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">California College of the Arts\u003c/a>, Northern California’s last nonprofit art and design school, announced it would permanently close at the end of the 2026–27 school year. Just weeks later, \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">Mission Cultural Center for Latino Arts suddenly collapsed\u003c/a> under financial distress.\u003c/p>\n\u003cp>The neighborhood directly around the CJM has had its own struggles. Nearby San Francisco Centre, formerly known as the Westfield mall, \u003ca href=\"https://www.kqed.org/forum/2010101912760/what-should-replace-san-francisco-centre\">fully closed in January 2026\u003c/a>. \u003ca href=\"https://www.sfchronicle.com/sf/article/city-college-close-downtown-sf-campus-enrollment-21959800.php\">City College will close its campus\u003c/a> at Fourth and Mission Streets this summer. The Mexican Museum, which was supposed to move in next door to the CJM, missed a key fundraising deadline last summer. That space remains empty.\u003c/p>\n\u003cp>Today’s announcement stated that the CJM is “engaged in curatorial planning,” including hiring for a curatorial position, collaborating on exhibitions and programming with other institutions, and planning for forums at which audience and supporters can provide feedback on the museum’s future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Over the past 15 months, CJM leadership has focused on distilling what the museum is that separates it from other institions and cultural centers. “One of the things in the work we did — looking at who we are, why we exist, what we can continue to be,” Kerry told KQED, “there was a clear point that we do need a space for convening, we need a space for exhibitions. It’s just part of our DNA, really. So we will be looking for that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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},
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
"title": "Fresh Air",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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",
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