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"content": "\u003cp>What does it mean to be born of violence?\u003c/p>\n\u003cp>In her debut \u003ca href=\"https://www.kqed.org/arts/tag/film\">thriller\u003c/a> \u003cem>Is God Is\u003c/em>, director Aleshea Harris explores this question through the relationship of two twins, Anaia (Mallori Johnson) and Racine (Kara Young). Their father, the Monster, (played with sinister precision by Sterling K. Brown), attempts to kill their mother (Vivica A. Fox) by setting her on fire. In the process, he physically and emotionally scars his young children, who try to save her. Their estranged, disfigured mother later summons them to kill him in revenge.\u003c/p>\n\u003cp>Anaia and Racine (or Naia and Cine for short) both bear marks from the damage, but in different ways. While Naia’s face is almost fully covered in visible burn wounds that draw disgust from onlookers, she’s also the softer twin — the sensitive, quiet one. Racine is only scarred on her arm, but she develops a fiery disposition, and is more prone to raw rage, roughness and violence. She even seems to revel in it at points.\u003c/p>\n\u003cp>As the twins attempt to make sense of their complicated past in foster homes, their mother invites them to see her for the first time in years. Through this journey to the South, we experience their deep, sometimes unspoken bond, in which they hear each other’s thoughts and questions, and answer silently, with captions on the screen. These nonverbal exchanges, combined with poetic voiceovers, foley and well-curated music cues, create a distinct sonic, visual world that’s striking and original.\u003c/p>\n\u003cp>https://youtu.be/pgtdkuNFoKk?si=hVNtYjyKARRhfc4a\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this film, which is based on Harris’ award-winning play, God is a Black woman, a Black mother. She’s damaged but also profound. In one scene, multiple Black women braid Ruby the God’s hair as she lies on her deathbed. The clinking sound of their long nails felt comforting to me, but this pairing of Black matriarchy and holiness may be controversial for some viewers, especially those not used to seeing Black women exalted in this way onscreen.\u003c/p>\n\u003cp>While the film engages with the divine status of Black women, it is stylistically reminiscent of Quentin Tarantino’s revenge thriller \u003cem>Kill Bill\u003c/em>, and even Denis Villeneuve’s \u003cem>Dune\u003c/em> series, where beauty and emotion mix with the grotesque, bizarre and unsightly. In another scene, the Monster’s mistress Divine the Healer (Erika Alexander) shows Racine and Anaia an elaborate altar dedicated to him, proving that no matter how much harm this man inflicts, he’s still loved and lusted after. [aside postid='arts_13989265' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/copy-of-6-book-covers.jpeg']\u003c/p>\n\u003cp>What makes the film interesting is its interrogation of patriarchal violence against Black women. At a time when we’re seeing increased coverage of \u003ca href=\"https://www.ebony.com/call-it-what-it-is-black-femicide/\">Black femicide\u003c/a>, \u003cem>Is God Is\u003c/em> makes space for the unfiltered rage and pain that some Black women carry. In an early scene when Racine and Anaia visit their mother, the hair-braiders in the room pull back the covers to reveal the horror of Ruby the God’s scars on her legs, which still burn with smoke. We see the two sisters’ faces consumed with emotion, spurring their need to act.\u003c/p>\n\u003cp>What does it mean to be a Black woman with sadness, grief and rage in this current time? As we read more headlines about Black women murdered by their partners, where does our rage go? Is it allowed to be used in our defense? Are we allowed to act in our own self-defense? Or are we supposed to just keep it inside, where it builds into a mound of pain? These questions came to my mind as I watched the film.\u003c/p>\n\u003cp>Yet I wasn’t always sure if the violence I was seeing onscreen had meaning. Throughout most of the film, we mainly see glimpses of Anaia and Racine’s father, the Monster, in close shots of his lips, face and legs. By the end of the film, I had no feelings about him, except for that he seemed like a psychopath. When Racine and Anaia got their revenge, it felt empty to me because his character wasn’t developed enough for me to care. I would’ve loved to see more of a backstory for the twins’ parents, in textured, complicated flashback scenes with their daughters to build more tension. [aside postid='arts_13989273' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01205.jpg']\u003c/p>\n\u003cp>Instead, I really leaned into the fun, soft and unexpected moments between the twins as they sat on the hood of their car, walked through a field or talked about Naia’s love life in their bedroom. Their long Dickies shorts, white tank tops and blond box braids contained vibrant cultural textures that I responded to. As I sat in the theater watching the film, I was drawn to the fiery and warm rapport between the twins, and I wanted to see them both make it out of this dangerous journey alive. Their complicated relationship is the standout element of the story.\u003c/p>\n\u003cp>\u003cem>Is God Is\u003c/em> asks us to see the beauty and spiritual presence in Black women, who are scarred, both physically and emotionally, by men in our communities. We don’t often see that angst captured in this way, which makes this film distinct in its handling. Here, Black women draw blood.\u003c/p>\n\u003cp>In one scene, Cine asks Naia: “You ever wanted to scrape off your scars to see what’s underneath?” The answer to that question comes in a poetic, uplifting surprise in the film, but not before a heartbreaking climax which seems to confront whether violent revenge will also consume the person seeking it. The weight of carrying this grief, rage and pain just might consume us all.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Is God Is’ hits theaters May 14, 2026.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does it mean to be born of violence?\u003c/p>\n\u003cp>In her debut \u003ca href=\"https://www.kqed.org/arts/tag/film\">thriller\u003c/a> \u003cem>Is God Is\u003c/em>, director Aleshea Harris explores this question through the relationship of two twins, Anaia (Mallori Johnson) and Racine (Kara Young). Their father, the Monster, (played with sinister precision by Sterling K. Brown), attempts to kill their mother (Vivica A. Fox) by setting her on fire. In the process, he physically and emotionally scars his young children, who try to save her. Their estranged, disfigured mother later summons them to kill him in revenge.\u003c/p>\n\u003cp>Anaia and Racine (or Naia and Cine for short) both bear marks from the damage, but in different ways. While Naia’s face is almost fully covered in visible burn wounds that draw disgust from onlookers, she’s also the softer twin — the sensitive, quiet one. Racine is only scarred on her arm, but she develops a fiery disposition, and is more prone to raw rage, roughness and violence. She even seems to revel in it at points.\u003c/p>\n\u003cp>As the twins attempt to make sense of their complicated past in foster homes, their mother invites them to see her for the first time in years. Through this journey to the South, we experience their deep, sometimes unspoken bond, in which they hear each other’s thoughts and questions, and answer silently, with captions on the screen. These nonverbal exchanges, combined with poetic voiceovers, foley and well-curated music cues, create a distinct sonic, visual world that’s striking and original.\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/pgtdkuNFoKk'\n title='//www.youtube.com/embed/pgtdkuNFoKk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this film, which is based on Harris’ award-winning play, God is a Black woman, a Black mother. She’s damaged but also profound. In one scene, multiple Black women braid Ruby the God’s hair as she lies on her deathbed. The clinking sound of their long nails felt comforting to me, but this pairing of Black matriarchy and holiness may be controversial for some viewers, especially those not used to seeing Black women exalted in this way onscreen.\u003c/p>\n\u003cp>While the film engages with the divine status of Black women, it is stylistically reminiscent of Quentin Tarantino’s revenge thriller \u003cem>Kill Bill\u003c/em>, and even Denis Villeneuve’s \u003cem>Dune\u003c/em> series, where beauty and emotion mix with the grotesque, bizarre and unsightly. In another scene, the Monster’s mistress Divine the Healer (Erika Alexander) shows Racine and Anaia an elaborate altar dedicated to him, proving that no matter how much harm this man inflicts, he’s still loved and lusted after. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What makes the film interesting is its interrogation of patriarchal violence against Black women. At a time when we’re seeing increased coverage of \u003ca href=\"https://www.ebony.com/call-it-what-it-is-black-femicide/\">Black femicide\u003c/a>, \u003cem>Is God Is\u003c/em> makes space for the unfiltered rage and pain that some Black women carry. In an early scene when Racine and Anaia visit their mother, the hair-braiders in the room pull back the covers to reveal the horror of Ruby the God’s scars on her legs, which still burn with smoke. We see the two sisters’ faces consumed with emotion, spurring their need to act.\u003c/p>\n\u003cp>What does it mean to be a Black woman with sadness, grief and rage in this current time? As we read more headlines about Black women murdered by their partners, where does our rage go? Is it allowed to be used in our defense? Are we allowed to act in our own self-defense? Or are we supposed to just keep it inside, where it builds into a mound of pain? These questions came to my mind as I watched the film.\u003c/p>\n\u003cp>Yet I wasn’t always sure if the violence I was seeing onscreen had meaning. Throughout most of the film, we mainly see glimpses of Anaia and Racine’s father, the Monster, in close shots of his lips, face and legs. By the end of the film, I had no feelings about him, except for that he seemed like a psychopath. When Racine and Anaia got their revenge, it felt empty to me because his character wasn’t developed enough for me to care. I would’ve loved to see more of a backstory for the twins’ parents, in textured, complicated flashback scenes with their daughters to build more tension. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, I really leaned into the fun, soft and unexpected moments between the twins as they sat on the hood of their car, walked through a field or talked about Naia’s love life in their bedroom. Their long Dickies shorts, white tank tops and blond box braids contained vibrant cultural textures that I responded to. As I sat in the theater watching the film, I was drawn to the fiery and warm rapport between the twins, and I wanted to see them both make it out of this dangerous journey alive. Their complicated relationship is the standout element of the story.\u003c/p>\n\u003cp>\u003cem>Is God Is\u003c/em> asks us to see the beauty and spiritual presence in Black women, who are scarred, both physically and emotionally, by men in our communities. We don’t often see that angst captured in this way, which makes this film distinct in its handling. Here, Black women draw blood.\u003c/p>\n\u003cp>In one scene, Cine asks Naia: “You ever wanted to scrape off your scars to see what’s underneath?” The answer to that question comes in a poetic, uplifting surprise in the film, but not before a heartbreaking climax which seems to confront whether violent revenge will also consume the person seeking it. The weight of carrying this grief, rage and pain just might consume us all.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Is God Is’ hits theaters May 14, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before she became a screenwriter and author, \u003ca href=\"https://www.nellynellproductions.com/\">Janell Grace\u003c/a> worked as a case manager in juvenile hall, and she saw firsthand the effects that unprocessed trauma had on young people. “I didn’t like how they saw themselves,” she says.\u003c/p>\n\u003cp>Grace wanted to tell a story that could help the youth she worked with dream bigger, so she teamed up with one of her best friends from college, Malik Glass, to write a screenplay for a short film that could help destigmatize mental health. The result was 2022’s \u003ci>Love Conquers All\u003c/i>, which the two writers have turned into a graphic novel in collaboration with illustrator Eli Beaird. The third installment of the book comes out May 16, with a \u003ca href=\"https://www.eventbrite.com/e/love-conquers-all-part-3-book-release-tickets-1983055036998\">release party in Oakland\u003c/a>. [aside postid='arts_13989248']\u003c/p>\n\u003cp>\u003ci>Love Conquers All\u003c/i> tells the story of Kennedy, a young Black man whose family settled in Oakland from New Orleans in the aftermath of Hurricane Katrina. As Kennedy studies to become a chef, he’s grief-stricken from his sister Faith’s death and haunted by memories of their childhood in foster care. Kennedy starts to withdraw, and his girlfriend Rose pressures him to get help.\u003c/p>\n\u003cp>“Before the good happens, the bad has to happen, so you see that transition from him crashing out,” Grace says.\u003c/p>\n\u003cp>The latest edition of \u003ci>Love Conquers All\u003c/i> deals with flashbacks to Kennedy’s brush with gun violence when he was a child, an experience he’s attempting to process in therapy as he navigates a major opportunity that could take his cooking career to the next level.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[We’re] normalizing the fact that people do have issues, and that it’s OK to address it and that, it’s OK to even have doubts if therapy is gonna work,” says Glass, who previously worked as a counselor for young people in a group home.\u003c/p>\n\u003cfigure id=\"attachment_13989433\" class=\"wp-caption alignright\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg\" alt=\"\" width=\"820\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-160x132.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-768x636.jpeg 768w\" sizes=\"auto, (max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">Authors Janell Grace and Malik Glass (left to right). \u003ccite>(Courtesy of Janell Grace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the three volumes of \u003ci>Love Conquers All\u003c/i>, Grace and Glass explore multiple levels of trauma that can shake one’s foundation. In addition to the personal loss of Kennedy’s sister — which parallels Grace’s own experience of losing a sister of her own — the story also alludes to the global trauma of natural disasters, and the reverberating effects of losing one’s home. After Kennedy’s family is displaced from New Orleans, his parents are in survival mode, putting food on the table by any means necessary.\u003c/p>\n\u003cp>On an even larger scale, the books and short film also allude to generational trauma. In part one, a character recommends a book to Kennedy: \u003ci>Post Traumatic Slave Syndrome\u003c/i> by social work professor Dr. Joy DeGruy, an influential text that unpacks the lasting scars of racist violence. “If you wanna know about Black mental health, read that book,” Grace says. “It gives you a perspective that is not talked about in schools. It’s not talked about amongst our families.” [aside postid='arts_13989273']\u003c/p>\n\u003cp>In addition to independently releasing the \u003ci>Love Conquers All\u003c/i> comic books, Grace and Glass have their sights set on taking Kennedy’s story to a bigger audience: Their ambition is to turn the graphic novel into a live-action TV show set in Oakland, and they’ve already written two episodes.\u003c/p>\n\u003cp>“We just wanna show love for the Bay and its people,” Grace says. “You see TV shows shot in LA, you see TV show shot in New York. Let’s bring a show here and let’s show the people how beautiful and unique the people are in the Bay area.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The ‘Love Conquers All’ \u003ca href=\"https://www.eventbrite.com/e/love-conquers-all-part-3-book-release-tickets-1983055036998\">launch party\u003c/a> takes place May 16, 1–5 p.m. at 3235 Grand Ave., Oakland.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[We’re] normalizing the fact that people do have issues, and that it’s OK to address it and that, it’s OK to even have doubts if therapy is gonna work,” says Glass, who previously worked as a counselor for young people in a group home.\u003c/p>\n\u003cfigure id=\"attachment_13989433\" class=\"wp-caption alignright\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg\" alt=\"\" width=\"820\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-160x132.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-768x636.jpeg 768w\" sizes=\"auto, (max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">Authors Janell Grace and Malik Glass (left to right). \u003ccite>(Courtesy of Janell Grace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the three volumes of \u003ci>Love Conquers All\u003c/i>, Grace and Glass explore multiple levels of trauma that can shake one’s foundation. In addition to the personal loss of Kennedy’s sister — which parallels Grace’s own experience of losing a sister of her own — the story also alludes to the global trauma of natural disasters, and the reverberating effects of losing one’s home. After Kennedy’s family is displaced from New Orleans, his parents are in survival mode, putting food on the table by any means necessary.\u003c/p>\n\u003cp>On an even larger scale, the books and short film also allude to generational trauma. In part one, a character recommends a book to Kennedy: \u003ci>Post Traumatic Slave Syndrome\u003c/i> by social work professor Dr. Joy DeGruy, an influential text that unpacks the lasting scars of racist violence. “If you wanna know about Black mental health, read that book,” Grace says. “It gives you a perspective that is not talked about in schools. It’s not talked about amongst our families.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to independently releasing the \u003ci>Love Conquers All\u003c/i> comic books, Grace and Glass have their sights set on taking Kennedy’s story to a bigger audience: Their ambition is to turn the graphic novel into a live-action TV show set in Oakland, and they’ve already written two episodes.\u003c/p>\n\u003cp>“We just wanna show love for the Bay and its people,” Grace says. “You see TV shows shot in LA, you see TV show shot in New York. Let’s bring a show here and let’s show the people how beautiful and unique the people are in the Bay area.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The ‘Love Conquers All’ \u003ca href=\"https://www.eventbrite.com/e/love-conquers-all-part-3-book-release-tickets-1983055036998\">launch party\u003c/a> takes place May 16, 1–5 p.m. at 3235 Grand Ave., Oakland.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One day, while taking a routine early morning walk around her home in the \u003ca href=\"https://www.kqed.org/arts/tag/east-bay\">East Bay\u003c/a> hills, author \u003ca href=\"https://www.kqed.org/forum/2010101889323/a-journey-from-maos-china-to-san-franciscos-chinatown-in-vanessa-huas-forbidden-city\">Vanessa Hua\u003c/a> found herself face to face with a coyote. Precipitating the encounter was a noise she likens to a “scramble of high heels” that turned out to be the hooves of two deer chasing a coyote, which was suddenly running toward her at full speed.\u003c/p>\n\u003cp>The face-off took place during the 2020 lockdown. But it lingered with the author long after the coyote escaped into nearby brush, and helped shape her new novel, \u003ci>Coyoteland \u003c/i>(out May 12 via Macmillan). [aside postid='arts_13989265' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/copy-of-6-book-covers.jpeg']\u003c/p>\n\u003cp>“To me, that encapsulated that moment where everything felt topsy-turvy and off-kilter,” she explains. “That stuck with me in terms of thinking about writing about territory, about predator and prey, but also the larger question of \u003ci>How do we be good neighbors to each other?\u003c/i>”\u003c/p>\n\u003cp>In 2021, Hua began writing the book — which centers on interpersonal drama broiling within an exclusive East Bay community — amid the speculation of what a post-2020 world would look like. “There had been the racial reckoning about police brutality. That was the year the sky turned orange from wildfires. That was the year of COVID,” Hua recalls. “So by the spring of 2021, it was this kind of hinge point, like, where would we go next?” (Hua previously authored two national bestsellers, \u003ci>A River of Stars\u003c/i> and \u003ci>Forbidden City,\u003c/i> and worked as a columnist at the \u003cem>San Francisco Chronicle\u003c/em>.) \u003c/p>\n\u003cp>\u003ci>Coyoteland\u003c/i> is set in El Nido, a fictional community in the hills east of Berkeley that epitomizes privileged liberal American enclaves. Its downtown has a deliberately dated, old-fashioned ice cream parlor; freshly licensed 16-year-olds drive Teslas and Range Rovers; and the majority-white residents cherish their outwardly progressive politics. With witty efficiency, Hua characterizes one of the mothers as someone who proudly listened to the audiobook of Robin DiAngelo’s \u003ci>White Fragility\u003c/i> at 1.5 speed but struggles to quote it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The events of the book take place under three stressful external conditions: the coronavirus pandemic, California’s increasingly unpredictable fire season and a rogue coyote that bites residents. Against this backdrop, an unexpected catalyst moves into the neighborhood. The Changs — patriarch Jin, his wife Kai, and their two daughters, Jane and Lily — relocate to El Nido from a one-bedroom apartment they shared in Fremont. El Nido represents a lifetime’s achievement, grander educational opportunities for the children, socializing with the one percent. But it also means becoming the lone Asian family in a predominantly white community.\u003c/p>\n\u003cp>Meanwhile, unbeknownst to Kai, Jin has recently been laid off and is too proud to admit it. He’s using the move to El Nido to activate a financial scheme linked to a nearby real estate development project. It will soon put him at odds with his nextdoor neighbors, who have a financial stake in the project, and other neighbors less well-off who are hoping to benefit from its promise of designated affordable housing. [aside postid='arts_13989228' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/coyote-alcatraz.png']\u003c/p>\n\u003cp>The coyote in El Nido, named Wily, attacks sparingly, but the mere threat of an attack feeds paranoia into the community like excess oxygen in a casino. Residents bond over Wily across racial and economic lines, even if it’s simply shared fear. Hua was partially inspired by a real-life story about a coyote on the loose in the Bay Area between 2020-2021; she also had a friend tell her about a woman wanted in Bernal Heights for feeding coyotes raw meat.\u003c/p>\n\u003cp>“There’s this tension, right? You hear that bone-chilling howl and you kind of pull the covers tight, but then they look very similar to our beloved pets and people want to try to reach out to them in that way,” Hua offers. She became invested in exploring that tension, and the attending tensions of different animals encroaching on each other’s territories.\u003c/p>\n\u003cp>The story alternates perspectives seamlessly from Jin, to his neighbors, to his neighbor’s nanny, and even Wily. “\u003ci>Coyoteland\u003c/i> is a story about a community, and I felt like telling the perspectives from four families, and a parent and child from each generation, really got at what it means to live in this community,” Hua explains of the decision. “And,” she continues, “often people can get flattened or turned into a stereotype or a character or villain, and a project of my career is even when characters are making questionable choices, I hope to illustrate the larger forces at work that are shaping who they are and why they decide to do what they do.” [aside postid='arts_13989155' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg']\u003c/p>\n\u003cp>The events of the book center on real estate, which Hua notes is a topic practically “in the air and the water” in California. “Everyone acknowledges that there is a housing affordability crisis, but there seems to be no consensus on how to move forward,” she notes. The book’s detailed exploration of this subject owes a debt to her prior career as a journalist covering beats that included minority business affairs and acquainted her with “the macro forces” at play in major cities including affordable housing debates and more nuanced issues like racial bias in home appraisals.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>California, Hua acknowledges, is full of natural beauty but also natural terror — earthquakes and wildfires and unneighborly neighbors. \u003ci>Coyoteland \u003c/i>ponders that beauty, and what it will take to fight against the forces seeking to limit its accessibility. It is a story about a community, but also about community as shelter. Says Hua: “Our love for this place has to also include thinking about how we make a future for it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“To me, that encapsulated that moment where everything felt topsy-turvy and off-kilter,” she explains. “That stuck with me in terms of thinking about writing about territory, about predator and prey, but also the larger question of \u003ci>How do we be good neighbors to each other?\u003c/i>”\u003c/p>\n\u003cp>In 2021, Hua began writing the book — which centers on interpersonal drama broiling within an exclusive East Bay community — amid the speculation of what a post-2020 world would look like. “There had been the racial reckoning about police brutality. That was the year the sky turned orange from wildfires. That was the year of COVID,” Hua recalls. “So by the spring of 2021, it was this kind of hinge point, like, where would we go next?” (Hua previously authored two national bestsellers, \u003ci>A River of Stars\u003c/i> and \u003ci>Forbidden City,\u003c/i> and worked as a columnist at the \u003cem>San Francisco Chronicle\u003c/em>.) \u003c/p>\n\u003cp>\u003ci>Coyoteland\u003c/i> is set in El Nido, a fictional community in the hills east of Berkeley that epitomizes privileged liberal American enclaves. Its downtown has a deliberately dated, old-fashioned ice cream parlor; freshly licensed 16-year-olds drive Teslas and Range Rovers; and the majority-white residents cherish their outwardly progressive politics. With witty efficiency, Hua characterizes one of the mothers as someone who proudly listened to the audiobook of Robin DiAngelo’s \u003ci>White Fragility\u003c/i> at 1.5 speed but struggles to quote it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The events of the book center on real estate, which Hua notes is a topic practically “in the air and the water” in California. “Everyone acknowledges that there is a housing affordability crisis, but there seems to be no consensus on how to move forward,” she notes. The book’s detailed exploration of this subject owes a debt to her prior career as a journalist covering beats that included minority business affairs and acquainted her with “the macro forces” at play in major cities including affordable housing debates and more nuanced issues like racial bias in home appraisals.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>California, Hua acknowledges, is full of natural beauty but also natural terror — earthquakes and wildfires and unneighborly neighbors. \u003ci>Coyoteland \u003c/i>ponders that beauty, and what it will take to fight against the forces seeking to limit its accessibility. It is a story about a community, but also about community as shelter. Says Hua: “Our love for this place has to also include thinking about how we make a future for it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF",
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"content": "\u003cp>I moved to \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> in the late 2000s, attracted by a certain romanticism, most of it due to the music and art born here in the city. \u003c/p>\n\u003cp>My early visits to the Bay would always include a stop at Amoeba Music, where I’d spend hours browsing the used CD racks for local \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">hip-hop\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/electronic-music\">electronic\u003c/a> releases. It was there that I fell into the seemingly endless treasure trove of Om Records, a small San Francisco house music label that first entered my consciousness at the turn of the millennium via DJ Mark Farina’s downtempo compilation series, \u003ci>Mushroom Jazz\u003c/i>. \u003c/p>\n\u003cp>Every visit yielded another batch of CDs. Comp mixes curated by artists like Kaskade, Groove Armada, and DJ Heather, as well as hip-hop albums like People Under the Stairs’ jazz & soul sample-soaked \u003ci>O.S.T. \u003c/i>and Ming + FS’s breakbeat-riddled \u003ci>Hell’s Kitchen. \u003c/i>There was the masterfully curated \u003ci>Om Lounge\u003c/i> downtempo series — a precursor to the “chill beats to relax to” playlist fodder of today — and an \u003ci>Om: Winter Sessions\u003c/i> deep house mix from a then little-known SF DJ named Justin Martin.\u003c/p>\n\u003cp>In other words, Om’s curation guided my curiosity. After a while, no matter which Om release I took a chance on, it was usually right up my alley. \u003c/p>\n\u003cfigure id=\"attachment_13989294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shiny Objects, a.k.a. Om Records cofounder Chris Smith, performs at this weekend’s anniversary parties for the label. \u003ccite>(Krescent Carasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The music scene in the city was incredible when we started the label,” says Chris Smith, who co-founded Om Records in 1995. “There were solid club nights seven nights a week for house music, downtempo, acid jazz — and a vibrant hip-hop scene, too, that we commingled with, and that’s what inspired me. We were obviously super into house music, but we wanted to do something that really embodied all of these eclectic sounds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After moving to San Francisco in 1992, Smith spent days and months digging through downtempo and European electronic records at stores like BPM, Clear, Zebra and Tweakin. The latter, now home to Vinyl Dreams, is where he met Om co-founder Steve Gray (who moved back to England shortly after the label was founded.) \u003c/p>\n\u003cp>Smith met Farina at an 11am afterparty at DNA Lounge, where the \u003ci>Mushroom Jazz\u003c/i> auteur was dropping tracks that would later appear on \u003ci>Mushroom Jazz Vol. 1\u003c/i>. The jazz-, hip-hop- and soul-inflected downtempo series became a phenomenon — from college and club night afterparties to soundtracking buzzy restaurant dining rooms in LA and Miami — and still stands as Om’s most widely recognized output. \u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" seamless>\u003ca href=\"https://markfarina.bandcamp.com/album/mushroom-jazz-vol-1\">Mushroom Jazz Vol. 1 by Various Artists\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Now, three decades and 800+ releases later, Om is not only releasing a 30th anniversary compilation album on May 8th, it’s the focus of a \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">free Day Party on Embarcadero Plaza on Sat, May 9th\u003c/a>. Featuring label mainstays Farina, Colette, DJ Heather, J.Boogie and Shiny Objects (Smith’s production moniker), and produced by Another Planet Entertainment (APE) and SF Rec & Parks, it’s one of a growing number of free outdoor concerts meant to generate optimism for the future of San Francisco. \u003c/p>\n\u003cp>Strangely, Om is hardly a household name in the city these days. The majority of its young residents haven’t been here for a decade, let alone three. And while electronic music would go on to become a big-money industry, coinciding with corporate promoters’ takeover of major markets, Om declined to sign up for the big-room EDM revolution – even as some of the label’s early artists (Kaskade, Martin, Claude VonStroke) went on to help define it. \u003c/p>\n\u003cp>“There were so many trends that came along that were, in my view, so cheesy,” says Smith. “I have so much respect for what Kaskade did when he left Om, but it’s just not in my DNA; I don’t understand that part of things. Maybe there were opportunities that we may have missed. I’ve just been more programmed into liking underground music.” \u003c/p>\n\u003cfigure id=\"attachment_13989293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area DJ J.Boogie, seen here at San Francisco’s Stern Grove, has been with Om Records since its inception. \u003ccite>(Kristina Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Om has slowed its release calendar in the last decade, it’s because Smith also co-founded local nightclubs in Potrero’s The Great Northern and Downtown’s Monarch, as well as restaurants like The Pawn Shop (adjacent to Monarch) and Sonoma Pizza Co. in Forestville, where he lives with his family. The pizza place takes up most of his time; Om’s longtime GM, Gunnar Hissam, runs the label’s day-to-day operations. Turns out over 20 years of running a dance music label and working in nightlife will burn you out some.\u003c/p>\n\u003cp>But this weekend, it’s paying off. APE’s Bryan Duquette tells KQED that more than 6,000 people have RSVP’d for the Om Anniversary Day Party.\u003c/p>\n\u003cp>“We try to work with independent labels and artists that have ties to SF” for the parties APE has produced with the city, Duquette says. “This show in particular has a historical tie to us, because we were booking J.Boogie at gigs at the Elbo Room before APE even existed, when we were still known as Mystery Machine Productions.”\u003c/p>\n\u003cp>As the 30th anniversary concert gets underway (followed by \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">a night show at Great Northern\u003c/a>), one has to wonder if the nostalgia of 800+ releases might be lost on many of the new wave of San Franciscans. It’s no secret that services like Spotify and Apple Music serve up formulaic playlists to listeners who rely solely on their algorithms for a semblance of “discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13989297\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg\" alt=\"\" width=\"2000\" height=\"1648\" class=\"size-full wp-image-13989297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collette. \u003ccite>(Courtesy Om Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The streaming age hasn’t been particularly kind to Om. Smith laments that even though Om was an early beta test partner for iTunes (he remembers meeting Steve Jobs) and early download purchases were big for Om financially, label catalogs were largely left behind in the artist-centric streaming era.\u003c/p>\n\u003cp>“First it was Napster downloads, then the bottom fell off the CD market and nobody was buying vinyl anymore,” Smith recalls. “We weathered them all, but it was challenging.”\u003c/p>\n\u003cp>This weekend’s party, then, is affirmation of not just Om Records’ successes, but something that automation has yet to replicate: its good taste.\u003c/p>\n\u003cp>“We were in the shadows and took a back seat for a minute,” Smith says. “But we’ve never been a label that hops on a trend, like prog house or trance or whatever. We always stuck with what we love.” \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Om Records’ 30th Anniversary Day Party takes place Saturday, May 9, from 1–5pm at Embarcadero Plaza in San Francisco. \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">More info here\u003c/a>. That night, from 9pm–3am, the party continues at the Great Northern (119 Utah St., San Francisco) with an evening headlined by Derrick Carter. \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I moved to \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> in the late 2000s, attracted by a certain romanticism, most of it due to the music and art born here in the city. \u003c/p>\n\u003cp>My early visits to the Bay would always include a stop at Amoeba Music, where I’d spend hours browsing the used CD racks for local \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">hip-hop\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/electronic-music\">electronic\u003c/a> releases. It was there that I fell into the seemingly endless treasure trove of Om Records, a small San Francisco house music label that first entered my consciousness at the turn of the millennium via DJ Mark Farina’s downtempo compilation series, \u003ci>Mushroom Jazz\u003c/i>. \u003c/p>\n\u003cp>Every visit yielded another batch of CDs. Comp mixes curated by artists like Kaskade, Groove Armada, and DJ Heather, as well as hip-hop albums like People Under the Stairs’ jazz & soul sample-soaked \u003ci>O.S.T. \u003c/i>and Ming + FS’s breakbeat-riddled \u003ci>Hell’s Kitchen. \u003c/i>There was the masterfully curated \u003ci>Om Lounge\u003c/i> downtempo series — a precursor to the “chill beats to relax to” playlist fodder of today — and an \u003ci>Om: Winter Sessions\u003c/i> deep house mix from a then little-known SF DJ named Justin Martin.\u003c/p>\n\u003cp>In other words, Om’s curation guided my curiosity. After a while, no matter which Om release I took a chance on, it was usually right up my alley. \u003c/p>\n\u003cfigure id=\"attachment_13989294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shiny Objects, a.k.a. Om Records cofounder Chris Smith, performs at this weekend’s anniversary parties for the label. \u003ccite>(Krescent Carasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The music scene in the city was incredible when we started the label,” says Chris Smith, who co-founded Om Records in 1995. “There were solid club nights seven nights a week for house music, downtempo, acid jazz — and a vibrant hip-hop scene, too, that we commingled with, and that’s what inspired me. We were obviously super into house music, but we wanted to do something that really embodied all of these eclectic sounds.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After moving to San Francisco in 1992, Smith spent days and months digging through downtempo and European electronic records at stores like BPM, Clear, Zebra and Tweakin. The latter, now home to Vinyl Dreams, is where he met Om co-founder Steve Gray (who moved back to England shortly after the label was founded.) \u003c/p>\n\u003cp>Smith met Farina at an 11am afterparty at DNA Lounge, where the \u003ci>Mushroom Jazz\u003c/i> auteur was dropping tracks that would later appear on \u003ci>Mushroom Jazz Vol. 1\u003c/i>. The jazz-, hip-hop- and soul-inflected downtempo series became a phenomenon — from college and club night afterparties to soundtracking buzzy restaurant dining rooms in LA and Miami — and still stands as Om’s most widely recognized output. \u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" seamless>\u003ca href=\"https://markfarina.bandcamp.com/album/mushroom-jazz-vol-1\">Mushroom Jazz Vol. 1 by Various Artists\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Now, three decades and 800+ releases later, Om is not only releasing a 30th anniversary compilation album on May 8th, it’s the focus of a \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">free Day Party on Embarcadero Plaza on Sat, May 9th\u003c/a>. Featuring label mainstays Farina, Colette, DJ Heather, J.Boogie and Shiny Objects (Smith’s production moniker), and produced by Another Planet Entertainment (APE) and SF Rec & Parks, it’s one of a growing number of free outdoor concerts meant to generate optimism for the future of San Francisco. \u003c/p>\n\u003cp>Strangely, Om is hardly a household name in the city these days. The majority of its young residents haven’t been here for a decade, let alone three. And while electronic music would go on to become a big-money industry, coinciding with corporate promoters’ takeover of major markets, Om declined to sign up for the big-room EDM revolution – even as some of the label’s early artists (Kaskade, Martin, Claude VonStroke) went on to help define it. \u003c/p>\n\u003cp>“There were so many trends that came along that were, in my view, so cheesy,” says Smith. “I have so much respect for what Kaskade did when he left Om, but it’s just not in my DNA; I don’t understand that part of things. Maybe there were opportunities that we may have missed. I’ve just been more programmed into liking underground music.” \u003c/p>\n\u003cfigure id=\"attachment_13989293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area DJ J.Boogie, seen here at San Francisco’s Stern Grove, has been with Om Records since its inception. \u003ccite>(Kristina Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Om has slowed its release calendar in the last decade, it’s because Smith also co-founded local nightclubs in Potrero’s The Great Northern and Downtown’s Monarch, as well as restaurants like The Pawn Shop (adjacent to Monarch) and Sonoma Pizza Co. in Forestville, where he lives with his family. The pizza place takes up most of his time; Om’s longtime GM, Gunnar Hissam, runs the label’s day-to-day operations. Turns out over 20 years of running a dance music label and working in nightlife will burn you out some.\u003c/p>\n\u003cp>But this weekend, it’s paying off. APE’s Bryan Duquette tells KQED that more than 6,000 people have RSVP’d for the Om Anniversary Day Party.\u003c/p>\n\u003cp>“We try to work with independent labels and artists that have ties to SF” for the parties APE has produced with the city, Duquette says. “This show in particular has a historical tie to us, because we were booking J.Boogie at gigs at the Elbo Room before APE even existed, when we were still known as Mystery Machine Productions.”\u003c/p>\n\u003cp>As the 30th anniversary concert gets underway (followed by \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">a night show at Great Northern\u003c/a>), one has to wonder if the nostalgia of 800+ releases might be lost on many of the new wave of San Franciscans. It’s no secret that services like Spotify and Apple Music serve up formulaic playlists to listeners who rely solely on their algorithms for a semblance of “discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13989297\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg\" alt=\"\" width=\"2000\" height=\"1648\" class=\"size-full wp-image-13989297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collette. \u003ccite>(Courtesy Om Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The streaming age hasn’t been particularly kind to Om. Smith laments that even though Om was an early beta test partner for iTunes (he remembers meeting Steve Jobs) and early download purchases were big for Om financially, label catalogs were largely left behind in the artist-centric streaming era.\u003c/p>\n\u003cp>“First it was Napster downloads, then the bottom fell off the CD market and nobody was buying vinyl anymore,” Smith recalls. “We weathered them all, but it was challenging.”\u003c/p>\n\u003cp>This weekend’s party, then, is affirmation of not just Om Records’ successes, but something that automation has yet to replicate: its good taste.\u003c/p>\n\u003cp>“We were in the shadows and took a back seat for a minute,” Smith says. “But we’ve never been a label that hops on a trend, like prog house or trance or whatever. We always stuck with what we love.” \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>Om Records’ 30th Anniversary Day Party takes place Saturday, May 9, from 1–5pm at Embarcadero Plaza in San Francisco. \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">More info here\u003c/a>. That night, from 9pm–3am, the party continues at the Great Northern (119 Utah St., San Francisco) with an evening headlined by Derrick Carter. \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "caltrain-photography-off-track-spencer-san-jose",
"title": "In ‘Off Track,’ a Photographer Finds Beauty on His Caltrain Commute",
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"content": "\u003cp>During his \u003ca href=\"https://www.kqed.org/news/tag/caltrain\">Caltrain\u003c/a> commute from Gilroy to Palo Alto, Spencer Enriquez usually covers his face with his beanie to get some shut-eye before clocking into his day job as a graphic designer. From my personal observations as a fellow Caltrain commuter, he’s not alone.\u003c/p>\n\u003cp>Most commuters zone out with their headphones on, responding to emails, sitting through morning meetings or gazing out the window.\u003c/p>\n\u003cfigure id=\"attachment_13989284\" class=\"wp-caption alignright\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-scaled.jpg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-scaled.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-2000x2500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-1638x2048.jpg 1638w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Spencer Enriquez. \u003ccite>(Courtesy of Spencer Enriquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the beginning of this year, Enriquez had a different agenda for his Caltrain GoPass: use it to capture scenes from the South Bay and up the Peninsula to San Francisco.\u003c/p>\n\u003cp>“I just thought it’d be fun to utilize my train pass, hit various stops that I wouldn’t normally explore the areas of, and kind of familiarize myself with more of the Bay Area,” Enriquez told KQED.\u003c/p>\n\u003cp>He’ll showcase his findings at his solo exhibition, \u003ci>Off Track\u003c/i>, at San Jose Japantown’s \u003ca href=\"https://www.knowfuturegallery.org/\">Know Future Gallery\u003c/a>, on view May 9–June 6.\u003c/p>\n\u003cp>For three months, equipped with either his Canon SLR or Olympus 35SP and a backpack filled with snacks and extra film rolls, Enriquez spent his weekends driving up to the San Jose Diridon Caltrain station to embark on a day of exploration.\u003c/p>\n\u003cp>Some stops were planned — like when Caltrain had an event for Martin Luther King Jr. Day — but most of the time, Enriquez just went off of what was interesting to him.\u003c/p>\n\u003cp>“By the time I got home after each one, I was pretty beat,” Enriquez said. “I just walked a mile or so out, did loops, walked through neighborhoods, main streets, downtown. I let it go with the flow. Something would catch my eye and draw me in one direction and I would go that way.”\u003c/p>\n\u003cp>Many of Enriquez’s shots are of blink-and-you’ll-miss-it kind of moments: for example, a photo of an abandoned garage with a broken-down car near the Sunnyvale station. As a Sunnyvale resident myself, I’ve never taken notice of this spot, but it’s a site Enriquez wanted to explore after it caught his eye on his commutes.\u003c/p>\n\u003cfigure id=\"attachment_13989286\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Spencer Enriquez documents Bay Area neighborhoods near Caltrain stations. \u003ccite>(Courtesy of Spencer Enriquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While most of Enriquez’s collection of photos focuses on just that — the small, everyday scenes we might not give a second glance as we gaze out the window — he also shows some tender moments of connection.\u003c/p>\n\u003cp>In one photo, we see a couple sitting down on a bench at a Caltrain stop, turned towards each other and holding hands. It’s a heartfelt moment that works to contrast the digital dependency often found in public transportation — people all connected online, but not to each other.[ad fullwidth]\u003c/p>\n\u003cp>This exhibition doesn’t show anything extraordinary, and that’s exactly the point. It depicts what slowing down looks like, paying attention to the life all around us that continues to exist even after the train passes by.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The opening reception of ‘\u003ca href=\"https://www.instagram.com/p/DVq8VmMERSj/\">Off Track\u003c/a>’ is on May 9 from 4–7 p.m. at Know Future Gallery (592 N 5th Street, San Jose). The exhibition runs through June 6.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Spencer Enriquez’s new exhibit at San José’s Know Future Gallery invites viewers to pause and be present. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During his \u003ca href=\"https://www.kqed.org/news/tag/caltrain\">Caltrain\u003c/a> commute from Gilroy to Palo Alto, Spencer Enriquez usually covers his face with his beanie to get some shut-eye before clocking into his day job as a graphic designer. From my personal observations as a fellow Caltrain commuter, he’s not alone.\u003c/p>\n\u003cp>Most commuters zone out with their headphones on, responding to emails, sitting through morning meetings or gazing out the window.\u003c/p>\n\u003cfigure id=\"attachment_13989284\" class=\"wp-caption alignright\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-scaled.jpg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-scaled.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-2000x2500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-1638x2048.jpg 1638w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Spencer Enriquez. \u003ccite>(Courtesy of Spencer Enriquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the beginning of this year, Enriquez had a different agenda for his Caltrain GoPass: use it to capture scenes from the South Bay and up the Peninsula to San Francisco.\u003c/p>\n\u003cp>“I just thought it’d be fun to utilize my train pass, hit various stops that I wouldn’t normally explore the areas of, and kind of familiarize myself with more of the Bay Area,” Enriquez told KQED.\u003c/p>\n\u003cp>He’ll showcase his findings at his solo exhibition, \u003ci>Off Track\u003c/i>, at San Jose Japantown’s \u003ca href=\"https://www.knowfuturegallery.org/\">Know Future Gallery\u003c/a>, on view May 9–June 6.\u003c/p>\n\u003cp>For three months, equipped with either his Canon SLR or Olympus 35SP and a backpack filled with snacks and extra film rolls, Enriquez spent his weekends driving up to the San Jose Diridon Caltrain station to embark on a day of exploration.\u003c/p>\n\u003cp>Some stops were planned — like when Caltrain had an event for Martin Luther King Jr. Day — but most of the time, Enriquez just went off of what was interesting to him.\u003c/p>\n\u003cp>“By the time I got home after each one, I was pretty beat,” Enriquez said. “I just walked a mile or so out, did loops, walked through neighborhoods, main streets, downtown. I let it go with the flow. Something would catch my eye and draw me in one direction and I would go that way.”\u003c/p>\n\u003cp>Many of Enriquez’s shots are of blink-and-you’ll-miss-it kind of moments: for example, a photo of an abandoned garage with a broken-down car near the Sunnyvale station. As a Sunnyvale resident myself, I’ve never taken notice of this spot, but it’s a site Enriquez wanted to explore after it caught his eye on his commutes.\u003c/p>\n\u003cfigure id=\"attachment_13989286\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Spencer Enriquez documents Bay Area neighborhoods near Caltrain stations. \u003ccite>(Courtesy of Spencer Enriquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While most of Enriquez’s collection of photos focuses on just that — the small, everyday scenes we might not give a second glance as we gaze out the window — he also shows some tender moments of connection.\u003c/p>\n\u003cp>In one photo, we see a couple sitting down on a bench at a Caltrain stop, turned towards each other and holding hands. It’s a heartfelt moment that works to contrast the digital dependency often found in public transportation — people all connected online, but not to each other.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This exhibition doesn’t show anything extraordinary, and that’s exactly the point. It depicts what slowing down looks like, paying attention to the life all around us that continues to exist even after the train passes by.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The opening reception of ‘\u003ca href=\"https://www.instagram.com/p/DVq8VmMERSj/\">Off Track\u003c/a>’ is on May 9 from 4–7 p.m. at Know Future Gallery (592 N 5th Street, San Jose). The exhibition runs through June 6.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "caamfest-2026-guide-bay-area-films-documentaries",
"title": "Six Must-See Bay Area Documentaries at CAAMFest 2026",
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"content": "\u003cp>The 44th \u003ca href=\"https://caamfest.com/2026/\">CAAMFest\u003c/a> kicks off May 7–10 in San Francisco’s Japantown, just as Asian American and Pacific Islander Heritage Month gets underway. At a time when Asian actors made up only \u003ca href=\"https://socialsciences.ucla.edu/wp-content/uploads/2026/03/UCLA-Hollywood-Diversity-Report-2026-Theatrical-Film-3-12-2026.pdf\">3.7% of lead roles\u003c/a> in the top theatrical films of 2025, this film festival paints a far more holistic portrait of Asian American storytelling. \u003c/p>\n\u003cp>CAAM, the Center for Asian American Media, is a nonprofit organization that funds, distributes and spotlights the works of Asian American filmmakers. This year, in addition to national and international titles, the festival has an especially strong selection of documentaries showcasing Bay Area stories.\u003c/p>\n\u003cp>These films explore our famously multicultural culinary scene, the rise of Silicon Valley Indian tech entrepreneurship, and the San Francisco Giants’ immense popularity in Japan, among other subjects. Here’s your guide to six very Bay Area documentaries:\u003c/p>\n\u003cfigure id=\"attachment_13989159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg\" alt=\"person in hat holds crab in front of phone camera\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13989159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Bui in a scene from ‘Meals that Made Us.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/meals-that-made-us/\">Meals That Made Us\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 8, 5:30 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Did you know there’s a Filipino restaurant in Oakland that doubles as a speakeasy mahjong den? What about the Sikh temple in San Jose, where a community member also leads a volunteer-run effort to cook and deliver meals to unhoused communities?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Meals That Made Us\u003c/em>, a new digital series directed by Nisha Balaram, explores how the Bay Area’s vibrant culinary landscape came to be. Episodes include ones on local foraging and crabbing, and the birth of modernized traditional cuisines by a new generation of tastemakers. Balaram demonstrates that food is more than simply nourishment for AAPI communities — it’s a form of language that breaks down borders.\u003c/p>\n\u003cp>In the series, Balaram interviews a plethora of restaurant owners, chefs, writers and social media personalities (including KQED Arts & Culture’s own \u003ca href=\"https://www.kqed.org/author/ltsai\">Luke Tsai\u003c/a>) who discuss the history of Asian immigration in the Bay Area and the evolution of their beloved heritage cuisines. \u003c/p>\n\u003cp>This screening will be followed by a live Q&A with the director and featured guests from the documentary. \u003c/p>\n\u003cfigure id=\"attachment_13989160\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg\" alt=\"ballerina leaps gracefully\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Georgina Pazcoguin dances in the ‘Nutcracker’ at the New York City Ballet. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/about-face-disrupting-ballet/\">About Face: Disrupting Ballet\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 11 a.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>“It’s true that one of the first acts of tyrants is to erase history, to wipe out the recorded history of a people.” \u003c/p>\n\u003cp>Can you guess where this quote is from?\u003c/p>\n\u003cp>If you somehow managed to guess that it’s one of the countless online hate comments made against Phil Chan, resident choreographer at the Oakland Ballet Company, in response to his mission to modify racist Asian caricatures in ballet, then you are correct. \u003c/p>\n\u003cp>Why does simply wanting to make an art form more inclusive incite accusations of tyranny? How can we address issues of orientalism and exoticization while preserving the artistry of ballet? These are the questions Jennifer Lin explores in her documentary, \u003cem>About Face: Disrupting Ballet\u003c/em>. \u003c/p>\n\u003cp>The film follows Chan and his longtime friend, Georgina Pazcoguin, who was the first female AAPI soloist at the New York City Ballet. The pair demonstrates that advocacy is about neither canceling classics nor erasing history, but about nurturing a more diverse future for the art form.\u003c/p>\n\u003cfigure id=\"attachment_13989161\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg\" alt=\"Black man and Asian woman sit on bench and laugh\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13989161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-1536x810.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell and Thao Nguyen in a scene from ‘The Dao of Thao.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/the-dao-of-thao/\">The Dao of Thao\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 3 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Thao Nguyen’s life story is full of idiosyncrasies and surprises. The Bay Area theater performer and former artistic director of San Francisco’s Asian Pacific Islander Cultural Center is the daughter of Vietnamese war refugees. She’s also a queer woman who partnered with a cis white man, with whom she’s now raising their mixed-race son, all while pursuing a PhD at Stanford.\u003c/p>\n\u003cp>In Khai Thu Nguyen’s documentary \u003cem>The Dao of Thao\u003c/em>, produced by W. Kamau Bell, our loveable protagonist prepares for her next comedy show, which explores her intersecting Asian American and queer identities amid new motherhood. \u003c/p>\n\u003cp>What \u003cem>does\u003c/em> potty training have to do with institutional racism? Khai Thu Nguyen shows an artist navigating not only her personal life experiences, but also structural inequality, and doing it all through humorous yet humanistic on-stage storytelling.\u003c/p>\n\u003cfigure id=\"attachment_13989162\" class=\"wp-caption aligncenter\" style=\"max-width: 1573px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg\" alt=\"Asian man and South Asian man in room filled with computers\" width=\"1573\" height=\"1126\" class=\"size-full wp-image-13989162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg 1573w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-1536x1100.jpg 1536w\" sizes=\"auto, (max-width: 1573px) 100vw, 1573px\">\u003cfigcaption class=\"wp-caption-text\">Kanwal Rekhi, right, in his early Silicon Valley days. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/breaking-the-code/\">Breaking the Code\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 5 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>The phrase “Silicon Valley Indian Mafia” may sound familiar to anyone with proximity to the Bay Area tech scene. In \u003cem>Breaking the Code\u003c/em>, director Ben Rekhi documents the history of the mafia’s undisputed godfather, Kanwal Rekhi — who also happens to be his \u003cem>actual\u003c/em> father.\u003c/p>\n\u003cp>The public knows Kanwal Rekhi as the co-founder of Excelan and IndUS Entrepreneurs (TiE), and, most notably, as the first Indian American founder and CEO to take a venture-backed company public on NASDAQ in 1987.\u003c/p>\n\u003cp>But his private life tells the story of the son of an army general from India. Born with a stutter and ostracized from his family, he immigrates to America in search of a new life, only to face racial discrimination. The film is not just about a tech pioneer’s remarkable rise to success, but also an intimate portrait of family and sacrifice along the road to greatness in the entrepreneurial 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/1084748617?h=8a0d1dbe8e\" 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\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/diamond-diplomacy/\">Diamond Diplomacy\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 10, 2 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>You don’t have to be a baseball fan to enjoy Yuriko Gamo Romer’s \u003cem>Diamond Diplomacy\u003c/em>, a film chronicling the fascinating, century-long role the sport has played in strengthening diplomatic ties between America and Japan, even amid war. And in the center of that diplomacy is San Francisco.\u003c/p>\n\u003cp>It’s said that San Francisco Seals player Lefty O’Doul’s popularity in Japan may have briefly forestalled the heights of World War II. Beginning in 1964, when Masanori “Mashi” Murakami was recruited to play for the San Francisco Giants, cultural exchange between the two countries became literal: American players began signing with Japanese teams, and Japanese players with American teams.\u003c/p>\n\u003cp>The 2025 runner-up at the Library of Congress Lavine/Ken Burns Prize for Film, \u003cem>Diamond Diplomacy\u003c/em> presents a compelling history of baseball as a vehicle for community that transcends borders and time.\u003c/p>\n\u003cfigure id=\"attachment_13989164\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000.jpg\" alt=\"Asian woman seated at outdoor table smiling behind four sewing machines, comments on right\" width=\"2000\" height=\"1103\" class=\"size-full wp-image-13989164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-1536x847.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-672x372.jpg 672w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Grace Yoo, part of the Auntie Sewing Squad, with four sewing machines in a Facebook post. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/the-auntie-sewing-squad-resistance-playbook/\">The Auntie Sewing Squad Resistance Playbook\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 10, 4:15 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>When the government fails to protect its people during the deadly COVID-19 pandemic, the Auntie Sewing Squad (ASS) steps up! \u003c/p>\n\u003cp>Directed by San Francisco State University ethnic studies professor Valerie Soe, \u003cem>The Auntie Sewing Squad Resistance Playbook\u003c/em> tells the story of how a Facebook group blossomed into a mutual aid movement made up of BIPOC, queer “aunties.” During the pandemic, performance artist Kristina Wong started a small volunteer group to sew masks for hospitals and MUNI workers; it quickly grew into a network of thousands distributing masks and resources to vulnerable people, from rural farmers to Indigenous communities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Humorous and uplifting, \u003cem>The Auntie Sewing Squad Resistance Playbook\u003c/em> is a testament to the power of solidarity and radical care in times of political strife.\u003c/p>\n\n",
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"title": "Six Must-See Bay Area Documentaries at CAAMFest 2026 | KQED",
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"headline": "Six Must-See Bay Area Documentaries at CAAMFest 2026",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 44th \u003ca href=\"https://caamfest.com/2026/\">CAAMFest\u003c/a> kicks off May 7–10 in San Francisco’s Japantown, just as Asian American and Pacific Islander Heritage Month gets underway. At a time when Asian actors made up only \u003ca href=\"https://socialsciences.ucla.edu/wp-content/uploads/2026/03/UCLA-Hollywood-Diversity-Report-2026-Theatrical-Film-3-12-2026.pdf\">3.7% of lead roles\u003c/a> in the top theatrical films of 2025, this film festival paints a far more holistic portrait of Asian American storytelling. \u003c/p>\n\u003cp>CAAM, the Center for Asian American Media, is a nonprofit organization that funds, distributes and spotlights the works of Asian American filmmakers. This year, in addition to national and international titles, the festival has an especially strong selection of documentaries showcasing Bay Area stories.\u003c/p>\n\u003cp>These films explore our famously multicultural culinary scene, the rise of Silicon Valley Indian tech entrepreneurship, and the San Francisco Giants’ immense popularity in Japan, among other subjects. Here’s your guide to six very Bay Area documentaries:\u003c/p>\n\u003cfigure id=\"attachment_13989159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg\" alt=\"person in hat holds crab in front of phone camera\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13989159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Bui in a scene from ‘Meals that Made Us.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/meals-that-made-us/\">Meals That Made Us\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 8, 5:30 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Did you know there’s a Filipino restaurant in Oakland that doubles as a speakeasy mahjong den? What about the Sikh temple in San Jose, where a community member also leads a volunteer-run effort to cook and deliver meals to unhoused communities?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Meals That Made Us\u003c/em>, a new digital series directed by Nisha Balaram, explores how the Bay Area’s vibrant culinary landscape came to be. Episodes include ones on local foraging and crabbing, and the birth of modernized traditional cuisines by a new generation of tastemakers. Balaram demonstrates that food is more than simply nourishment for AAPI communities — it’s a form of language that breaks down borders.\u003c/p>\n\u003cp>In the series, Balaram interviews a plethora of restaurant owners, chefs, writers and social media personalities (including KQED Arts & Culture’s own \u003ca href=\"https://www.kqed.org/author/ltsai\">Luke Tsai\u003c/a>) who discuss the history of Asian immigration in the Bay Area and the evolution of their beloved heritage cuisines. \u003c/p>\n\u003cp>This screening will be followed by a live Q&A with the director and featured guests from the documentary. \u003c/p>\n\u003cfigure id=\"attachment_13989160\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg\" alt=\"ballerina leaps gracefully\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Georgina Pazcoguin dances in the ‘Nutcracker’ at the New York City Ballet. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/about-face-disrupting-ballet/\">About Face: Disrupting Ballet\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 11 a.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>“It’s true that one of the first acts of tyrants is to erase history, to wipe out the recorded history of a people.” \u003c/p>\n\u003cp>Can you guess where this quote is from?\u003c/p>\n\u003cp>If you somehow managed to guess that it’s one of the countless online hate comments made against Phil Chan, resident choreographer at the Oakland Ballet Company, in response to his mission to modify racist Asian caricatures in ballet, then you are correct. \u003c/p>\n\u003cp>Why does simply wanting to make an art form more inclusive incite accusations of tyranny? How can we address issues of orientalism and exoticization while preserving the artistry of ballet? These are the questions Jennifer Lin explores in her documentary, \u003cem>About Face: Disrupting Ballet\u003c/em>. \u003c/p>\n\u003cp>The film follows Chan and his longtime friend, Georgina Pazcoguin, who was the first female AAPI soloist at the New York City Ballet. The pair demonstrates that advocacy is about neither canceling classics nor erasing history, but about nurturing a more diverse future for the art form.\u003c/p>\n\u003cfigure id=\"attachment_13989161\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg\" alt=\"Black man and Asian woman sit on bench and laugh\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13989161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-1536x810.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell and Thao Nguyen in a scene from ‘The Dao of Thao.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/the-dao-of-thao/\">The Dao of Thao\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 3 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Thao Nguyen’s life story is full of idiosyncrasies and surprises. The Bay Area theater performer and former artistic director of San Francisco’s Asian Pacific Islander Cultural Center is the daughter of Vietnamese war refugees. She’s also a queer woman who partnered with a cis white man, with whom she’s now raising their mixed-race son, all while pursuing a PhD at Stanford.\u003c/p>\n\u003cp>In Khai Thu Nguyen’s documentary \u003cem>The Dao of Thao\u003c/em>, produced by W. Kamau Bell, our loveable protagonist prepares for her next comedy show, which explores her intersecting Asian American and queer identities amid new motherhood. \u003c/p>\n\u003cp>What \u003cem>does\u003c/em> potty training have to do with institutional racism? Khai Thu Nguyen shows an artist navigating not only her personal life experiences, but also structural inequality, and doing it all through humorous yet humanistic on-stage storytelling.\u003c/p>\n\u003cfigure id=\"attachment_13989162\" class=\"wp-caption aligncenter\" style=\"max-width: 1573px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg\" alt=\"Asian man and South Asian man in room filled with computers\" width=\"1573\" height=\"1126\" class=\"size-full wp-image-13989162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg 1573w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-1536x1100.jpg 1536w\" sizes=\"auto, (max-width: 1573px) 100vw, 1573px\">\u003cfigcaption class=\"wp-caption-text\">Kanwal Rekhi, right, in his early Silicon Valley days. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/breaking-the-code/\">Breaking the Code\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 5 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>The phrase “Silicon Valley Indian Mafia” may sound familiar to anyone with proximity to the Bay Area tech scene. In \u003cem>Breaking the Code\u003c/em>, director Ben Rekhi documents the history of the mafia’s undisputed godfather, Kanwal Rekhi — who also happens to be his \u003cem>actual\u003c/em> father.\u003c/p>\n\u003cp>The public knows Kanwal Rekhi as the co-founder of Excelan and IndUS Entrepreneurs (TiE), and, most notably, as the first Indian American founder and CEO to take a venture-backed company public on NASDAQ in 1987.\u003c/p>\n\u003cp>But his private life tells the story of the son of an army general from India. Born with a stutter and ostracized from his family, he immigrates to America in search of a new life, only to face racial discrimination. The film is not just about a tech pioneer’s remarkable rise to success, but also an intimate portrait of family and sacrifice along the road to greatness in the entrepreneurial 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/1084748617?h=8a0d1dbe8e\" 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\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/diamond-diplomacy/\">Diamond Diplomacy\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 10, 2 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>You don’t have to be a baseball fan to enjoy Yuriko Gamo Romer’s \u003cem>Diamond Diplomacy\u003c/em>, a film chronicling the fascinating, century-long role the sport has played in strengthening diplomatic ties between America and Japan, even amid war. And in the center of that diplomacy is San Francisco.\u003c/p>\n\u003cp>It’s said that San Francisco Seals player Lefty O’Doul’s popularity in Japan may have briefly forestalled the heights of World War II. Beginning in 1964, when Masanori “Mashi” Murakami was recruited to play for the San Francisco Giants, cultural exchange between the two countries became literal: American players began signing with Japanese teams, and Japanese players with American teams.\u003c/p>\n\u003cp>The 2025 runner-up at the Library of Congress Lavine/Ken Burns Prize for Film, \u003cem>Diamond Diplomacy\u003c/em> presents a compelling history of baseball as a vehicle for community that transcends borders and time.\u003c/p>\n\u003cfigure id=\"attachment_13989164\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000.jpg\" alt=\"Asian woman seated at outdoor table smiling behind four sewing machines, comments on right\" width=\"2000\" height=\"1103\" class=\"size-full wp-image-13989164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-1536x847.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-672x372.jpg 672w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Grace Yoo, part of the Auntie Sewing Squad, with four sewing machines in a Facebook post. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/the-auntie-sewing-squad-resistance-playbook/\">The Auntie Sewing Squad Resistance Playbook\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 10, 4:15 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>When the government fails to protect its people during the deadly COVID-19 pandemic, the Auntie Sewing Squad (ASS) steps up! \u003c/p>\n\u003cp>Directed by San Francisco State University ethnic studies professor Valerie Soe, \u003cem>The Auntie Sewing Squad Resistance Playbook\u003c/em> tells the story of how a Facebook group blossomed into a mutual aid movement made up of BIPOC, queer “aunties.” During the pandemic, performance artist Kristina Wong started a small volunteer group to sew masks for hospitals and MUNI workers; it quickly grew into a network of thousands distributing masks and resources to vulnerable people, from rural farmers to Indigenous communities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Humorous and uplifting, \u003cem>The Auntie Sewing Squad Resistance Playbook\u003c/em> is a testament to the power of solidarity and radical care in times of political strife.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Empires get all the credit. And yet it was the Etruscans, the people who lived in present-day Tuscany between 900 and 100 B.C., who taught the Romans about viticulture, urban planning and complex hydraulic works. Without the Etruscans there would be no toga, or what we now call Roman numerals.\u003c/p>\n\u003cp>For too long, as curator Renée Dreyfus argues in her Legion of Honor exhibition \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>\u003c/i>, Etruscan culture has been overshadowed by the Greeks and Romans. The Etruscans are considered “mysterious” or “unknowable,” but as the show’s introductory video says, we just need to dig deeper — literally.\u003c/p>\n\u003cp>\u003ci>The Etruscans\u003c/i> gathers the latest scholarship and over 150 objects for the largest-ever presentation of Etruscan art and artifacts outside of Italy. An international roster of over two dozen institutions has loaned what are clearly treasures to this show; some have left their host museums for the first time since they were discovered. \u003c/p>\n\u003cfigure id=\"attachment_13989112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg\" alt=\"curved display with objects in vitrines, show title in black on wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of what we see at the Legion of Honor comes from the tombs of the elite: finely wrought jewelry, delicately painted pottery, everything needed to live well in the afterlife. (This includes eating and partying — the Etruscans were devoted to their banquets.) \u003c/p>\n\u003cp>But the show also contains objects made for the living: a model for the study of divination, votive figures of the Etruscans’ many gods, and small bronzes found in the thermal waters of San Casciano dei Bagni. That model, the “Liver of Piacenza,” is one of the most remarkable objects on display. The life-sized bronze replica of a sheep’s liver is inscribed with the names of Etruscan deities; it acted as a guide to reading the entrails of sacrificed animals, which in turn determined the will of the gods. \u003c/p>\n\u003cfigure id=\"attachment_13989115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg\" alt=\"bronze object covered in inscriptions\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Etruscan model of a sheep’s liver, found in Piacenza, second century B.C. \u003ccite>(Courtesy of the Musei Civici di Palazzo Farnese, Piacenza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Etruscans used the Greek alphabet, generally read right to left, their language was a unique non-Indo-European tongue with no known antecedents or modern descendants. Most of the Etruscan writing that exists now is funerary inscriptions on objects, short phrases of ownership or dedication. But at the Legion of Honor — incredibly rare thing alert! — we also get to see the longest example of Etruscan writing: a wide, framed display on strips of linen that has its own incredible backstory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ci>Liber linteus zagrabiensis\u003c/i> (Linen book of Zagreb) is the longest-surviving Etruscan text (aka Europe’s oldest book). Believed to be a calendar of ritual sacrifices and prayers, it dates back to the mid-third century B.C. The text exists \u003ci>only\u003c/i> because the manuscript was cut into strips and used to wrap an Egyptian mummy. Preserved by Egypt’s dry climate, the deconstructed book was identified as Etruscian writing in 1892, nearly 50 years after it was purchased in Alexandria.\u003c/p>\n\u003cfigure id=\"attachment_13989116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg\" alt=\"person stands in front of wide frame holding strips of linen\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Liber linteus zagrabiensis’ in ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That may seem oh so long ago, but scholars and archeologists are still making new discoveries about the Etruscans today. The small sculptures excavated from the mud of San Casciano dei Bagni, on display in the exhibition’s final gallery, were found just two years ago. \u003c/p>\n\u003cp>It’s hard to make an ancient civilization come alive for modern audiences. It helps that so many of the objects on view are playful, animated: a handle made from a bent-backwards body, a wonderfully elongated figure, a cup in the shape of a leg. \u003ci>The Etruscans\u003c/i> also stresses again and again just what made these people unique, especially in comparison to the empire that eventually subsumed them. (Etruscans became Roman citizens in 89 B.C.)\u003c/p>\n\u003cfigure id=\"attachment_13989119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg\" alt=\"terracotta sculpture of man and woman lounging together\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cinerary urn of the spouses, Etruscan, Caere, 520–500 B.C. \u003ccite>(Musée du Louvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women, in particular, enjoyed an elevated status in Etruscan society. They were highly literate, could inherit property, kept their maiden names and participated in public life. A reproduction of a painting in the Tomb of the Leopards spreads across one wall of the exhibition, showing both men and women lounging, conversing and generally enjoying themselves at a banquet. Greek symposia, in contrast, were the sole domain of aristocratic men.\u003c/p>\n\u003cp>The society that emerges through this exhibition is one of great wealth (the fine detail on the jewelry, holy moly) and great joy. Only people with a sense of delight would carve a toiletries box in the shape of a fawn. Or put such enigmatic and peaceful smiles on their renderings of the dead. You may emerge from the subterranean depths of the Legion of Honor wishing a bit more of Etruscan culture seeped its way into the Roman world, and, eventually, Western civilization.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>’ is on view at the Legion of Honor (100 34th Ave., San Francisco) May 2–Sept. 20, 2026.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Empires get all the credit. And yet it was the Etruscans, the people who lived in present-day Tuscany between 900 and 100 B.C., who taught the Romans about viticulture, urban planning and complex hydraulic works. Without the Etruscans there would be no toga, or what we now call Roman numerals.\u003c/p>\n\u003cp>For too long, as curator Renée Dreyfus argues in her Legion of Honor exhibition \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>\u003c/i>, Etruscan culture has been overshadowed by the Greeks and Romans. The Etruscans are considered “mysterious” or “unknowable,” but as the show’s introductory video says, we just need to dig deeper — literally.\u003c/p>\n\u003cp>\u003ci>The Etruscans\u003c/i> gathers the latest scholarship and over 150 objects for the largest-ever presentation of Etruscan art and artifacts outside of Italy. An international roster of over two dozen institutions has loaned what are clearly treasures to this show; some have left their host museums for the first time since they were discovered. \u003c/p>\n\u003cfigure id=\"attachment_13989112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg\" alt=\"curved display with objects in vitrines, show title in black on wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of what we see at the Legion of Honor comes from the tombs of the elite: finely wrought jewelry, delicately painted pottery, everything needed to live well in the afterlife. (This includes eating and partying — the Etruscans were devoted to their banquets.) \u003c/p>\n\u003cp>But the show also contains objects made for the living: a model for the study of divination, votive figures of the Etruscans’ many gods, and small bronzes found in the thermal waters of San Casciano dei Bagni. That model, the “Liver of Piacenza,” is one of the most remarkable objects on display. The life-sized bronze replica of a sheep’s liver is inscribed with the names of Etruscan deities; it acted as a guide to reading the entrails of sacrificed animals, which in turn determined the will of the gods. \u003c/p>\n\u003cfigure id=\"attachment_13989115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg\" alt=\"bronze object covered in inscriptions\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Etruscan model of a sheep’s liver, found in Piacenza, second century B.C. \u003ccite>(Courtesy of the Musei Civici di Palazzo Farnese, Piacenza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Etruscans used the Greek alphabet, generally read right to left, their language was a unique non-Indo-European tongue with no known antecedents or modern descendants. Most of the Etruscan writing that exists now is funerary inscriptions on objects, short phrases of ownership or dedication. But at the Legion of Honor — incredibly rare thing alert! — we also get to see the longest example of Etruscan writing: a wide, framed display on strips of linen that has its own incredible backstory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ci>Liber linteus zagrabiensis\u003c/i> (Linen book of Zagreb) is the longest-surviving Etruscan text (aka Europe’s oldest book). Believed to be a calendar of ritual sacrifices and prayers, it dates back to the mid-third century B.C. The text exists \u003ci>only\u003c/i> because the manuscript was cut into strips and used to wrap an Egyptian mummy. Preserved by Egypt’s dry climate, the deconstructed book was identified as Etruscian writing in 1892, nearly 50 years after it was purchased in Alexandria.\u003c/p>\n\u003cfigure id=\"attachment_13989116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg\" alt=\"person stands in front of wide frame holding strips of linen\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Liber linteus zagrabiensis’ in ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That may seem oh so long ago, but scholars and archeologists are still making new discoveries about the Etruscans today. The small sculptures excavated from the mud of San Casciano dei Bagni, on display in the exhibition’s final gallery, were found just two years ago. \u003c/p>\n\u003cp>It’s hard to make an ancient civilization come alive for modern audiences. It helps that so many of the objects on view are playful, animated: a handle made from a bent-backwards body, a wonderfully elongated figure, a cup in the shape of a leg. \u003ci>The Etruscans\u003c/i> also stresses again and again just what made these people unique, especially in comparison to the empire that eventually subsumed them. (Etruscans became Roman citizens in 89 B.C.)\u003c/p>\n\u003cfigure id=\"attachment_13989119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg\" alt=\"terracotta sculpture of man and woman lounging together\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cinerary urn of the spouses, Etruscan, Caere, 520–500 B.C. \u003ccite>(Musée du Louvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women, in particular, enjoyed an elevated status in Etruscan society. They were highly literate, could inherit property, kept their maiden names and participated in public life. A reproduction of a painting in the Tomb of the Leopards spreads across one wall of the exhibition, showing both men and women lounging, conversing and generally enjoying themselves at a banquet. Greek symposia, in contrast, were the sole domain of aristocratic men.\u003c/p>\n\u003cp>The society that emerges through this exhibition is one of great wealth (the fine detail on the jewelry, holy moly) and great joy. Only people with a sense of delight would carve a toiletries box in the shape of a fawn. Or put such enigmatic and peaceful smiles on their renderings of the dead. You may emerge from the subterranean depths of the Legion of Honor wishing a bit more of Etruscan culture seeped its way into the Roman world, and, eventually, Western civilization.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>’ is on view at the Legion of Honor (100 34th Ave., San Francisco) May 2–Sept. 20, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two of the biggest rising stars in hip-hop will descend upon Stanford’s campus this weekend for a free show, \u003ca href=\"https://live.stanford.edu/events/26-frost/blackfest/\">Stanford Blackfest\u003c/a>. On Sunday, May 3, \u003ca href=\"https://www.instagram.com/samaracyn/\">Samara Cyn\u003c/a> and \u003ca href=\"https://www.instagram.com/jidsv/\">J.I.D\u003c/a>. are set to rock the university’s outdoor amphitheater.\u003c/p>\n\u003cp>An annual showcase of top-tier talent combined with a family-reunion vibe, Stanford Blackfest \u003ca href=\"https://www.kqed.org/arts/13956365/larry-june-stanford-blackfest-free\">dates back five decades\u003c/a>. The event started as a social gathering for African American students, organized by the Black Community Services Center and the Black Student Union. Over the years it’s welcomed some of the biggest names in music, including Future, E-40, Kendrick Lamar and more. Last year, San Francisco’s Larry June brought a healthy dose of game to The Farm.\u003c/p>\n\u003cp>Cyn, a frequent collaborator with Oakland’s Ovrkast., has etched a large following over the past five years. The Los Angeles-based artist recently released \u003cem>Detour,\u003c/em> a follow-up to her acclaimed 2024 album \u003cem>The Drive Home\u003c/em>. Last year, she was named\u003ca href=\"https://www.billboard.com/music/rb-hip-hop/samara-cyn-backroads-hip-hop-rookie-of-month-may-2025-1235983647/\"> Billboard’s Hip-Hop Rookie of the Month\u003c/a>, was included in the \u003ca href=\"https://www.youtube.com/watch?v=gaYynzCLOgs\">2025 XXL Freshman class\u003c/a> and performed on \u003ca href=\"https://www.youtube.com/watch?v=AWBlOZ5L1bw\">\u003cem>The Daily Show\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gaYynzCLOgs\u003c/p>\n\u003cp>J.I.D. is a former college football player who found his passion in wordplay, and rose to lyrical prominence as a member of J. Cole’s Dreamville Records.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Never Story\u003c/em> and \u003cem>The Forever Story\u003c/em> are highlights of his output, which includes some notable EPs and a wide range of features with Eminem, Imagine Dragons and more. A Grammy-nominated wordsmith and Billboard-charting artist, his claim to fame is arguably the “\u003ca href=\"https://www.youtube.com/watch?v=MICViuyL4Lg\">Surround Sound Challenge\u003c/a>” (or “Ceiling Challenge”), a viral phenomenon of people dancing to his song “Surround Sound” as filmed from the ceiling.\u003c/p>\n\u003cp>Both Samara Cyn and J.I.D. are talented writers who can float melodically over beats, vocally harmonizing with heavy bass lines and mixing catchy hooks with clever wordplay. Given the talent on stage, attendees are advised to show up early and be prepared for a musical treat.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Stanford Blackfest 2026 takes place May 3, 2026, at Stanford’s Frost Amphitheater (351 Lasuen St., Stanford). \u003ca href=\"https://live.stanford.edu/s/event?EventID=16602\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two of the biggest rising stars in hip-hop will descend upon Stanford’s campus this weekend for a free show, \u003ca href=\"https://live.stanford.edu/events/26-frost/blackfest/\">Stanford Blackfest\u003c/a>. On Sunday, May 3, \u003ca href=\"https://www.instagram.com/samaracyn/\">Samara Cyn\u003c/a> and \u003ca href=\"https://www.instagram.com/jidsv/\">J.I.D\u003c/a>. are set to rock the university’s outdoor amphitheater.\u003c/p>\n\u003cp>An annual showcase of top-tier talent combined with a family-reunion vibe, Stanford Blackfest \u003ca href=\"https://www.kqed.org/arts/13956365/larry-june-stanford-blackfest-free\">dates back five decades\u003c/a>. The event started as a social gathering for African American students, organized by the Black Community Services Center and the Black Student Union. Over the years it’s welcomed some of the biggest names in music, including Future, E-40, Kendrick Lamar and more. Last year, San Francisco’s Larry June brought a healthy dose of game to The Farm.\u003c/p>\n\u003cp>Cyn, a frequent collaborator with Oakland’s Ovrkast., has etched a large following over the past five years. The Los Angeles-based artist recently released \u003cem>Detour,\u003c/em> a follow-up to her acclaimed 2024 album \u003cem>The Drive Home\u003c/em>. Last year, she was named\u003ca href=\"https://www.billboard.com/music/rb-hip-hop/samara-cyn-backroads-hip-hop-rookie-of-month-may-2025-1235983647/\"> Billboard’s Hip-Hop Rookie of the Month\u003c/a>, was included in the \u003ca href=\"https://www.youtube.com/watch?v=gaYynzCLOgs\">2025 XXL Freshman class\u003c/a> and performed on \u003ca href=\"https://www.youtube.com/watch?v=AWBlOZ5L1bw\">\u003cem>The Daily Show\u003c/em>\u003c/a>.\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/gaYynzCLOgs'\n title='//www.youtube.com/embed/gaYynzCLOgs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>J.I.D. is a former college football player who found his passion in wordplay, and rose to lyrical prominence as a member of J. Cole’s Dreamville Records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Never Story\u003c/em> and \u003cem>The Forever Story\u003c/em> are highlights of his output, which includes some notable EPs and a wide range of features with Eminem, Imagine Dragons and more. A Grammy-nominated wordsmith and Billboard-charting artist, his claim to fame is arguably the “\u003ca href=\"https://www.youtube.com/watch?v=MICViuyL4Lg\">Surround Sound Challenge\u003c/a>” (or “Ceiling Challenge”), a viral phenomenon of people dancing to his song “Surround Sound” as filmed from the ceiling.\u003c/p>\n\u003cp>Both Samara Cyn and J.I.D. are talented writers who can float melodically over beats, vocally harmonizing with heavy bass lines and mixing catchy hooks with clever wordplay. Given the talent on stage, attendees are advised to show up early and be prepared for a musical treat.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Stanford Blackfest 2026 takes place May 3, 2026, at Stanford’s Frost Amphitheater (351 Lasuen St., Stanford). \u003ca href=\"https://live.stanford.edu/s/event?EventID=16602\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebrate the Grit and Glory of ‘25 Years of Hamburger Eyes’ at the SF Public Library",
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"content": "\u003cp>If you were a Bay Area dirtbag in the early 2000s, you likely remember the thrill of seeing your people, your neighborhoods and your more nefarious activities reflected back at you in the street photography of the period. \u003cem>Vice\u003c/em> magazine is usually credited with popularizing the unfiltered and uncompromising aesthetic, but Bay Area photographers were arguably the underground leaders.\u003c/p>\n\u003cp>[aside postid='arts_13983681']At the forefront was \u003cem>\u003ca href=\"https://www.kqed.org/arts/10802/hamburger_eyes_the_odyssey\">Hamburger Eyes\u003c/a>\u003c/em>, a fanzine that captured and celebrated the everyday realities of city living in black-and-white candids. Founder and editor Ray Potes arrived in San Francisco (from San Diego) in 2003 and quickly began printing his zine on a Heidelberg press, with the assistance of his brother David. By 2007, Potes and his close collaborator Stefan Simikich had also set up the Photo Epicenter in the Mission District — an art gallery, dark room and social space. A year later came the first \u003cem>Hamburger Eyes\u003c/em> book: \u003ca href=\"https://powerhousebooks.com/books/hamburger-eyes-inside-burgerworld/\">\u003cem>Inside Burgerworld\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Potes has helmed or assisted countless photo projects in the time since, including his side project zine \u003cem>\u003ca href=\"https://rumorbooks.com/products/the-best-of-celly-brian-vol-3-hamburger-eyes\">Celly Brain\u003c/a>\u003c/em> which, for a time, offered an online cellphone photo portal that pre-dated Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13988956\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988956 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg\" alt=\"A woman lies with her upper face obscured by her own arm which is raised to reveal a hairy armpit. She sticks her tongue out.\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Tobin Yelland, ‘The Changsta,’ 1992 in the Hamburger Eyes exhibit at the San Francisco Public Library. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five months, the San Francisco Public Library’s Jewett Gallery is exhibiting work by 83 photographers who have featured in the pages of \u003cem>Hamburger Eyes\u003c/em>. These shots start with \u003ca href=\"https://www.tedpushinskyphotography.com/\">Ted Pushinsky\u003c/a>’s early-’80s street photography and transport viewers up to the present day, via images of everything and anything you can think of. Like kids lined up on a fairground ride, a dog carrying around a dead pigeon and an entirely wrecked automobile on the side of the road, adorned with a “FREE CAR” sign. The show is a fitting reflection of the chaos that \u003cem>Hamburger Eyes\u003c/em> has always embraced.\u003c/p>\n\u003cp>As usual, Potes (with co-curator Megan Merritt) has leaned into curious juxtapositions for \u003cem>The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/em>. In one corner, a photo of an aging man showing off his torso of stick and poke tattoos sits underneath the image of posed, suburban family portraits discarded inside a dumpster. A cluster of microphone-wielding journalists sits directly above curious hands touching a giant yellow python. Near a shot of an old man sitting quietly in a laundromat is a photograph of a young man stuck halfway through a hole in a chainlink fence, while his skateboard waits patiently for him on the other side. It is a dizzying, consistently absorbing display.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Accompanying the anniversary celebration is a new book too. \u003cem>Hamburger Eyes — The First 25 Years\u003c/em> features 200 photographers, including the likes of \u003ca href=\"https://www.kqed.org/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer\">Dave Schubert\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13967132/tobin-yelland-skateboard-photography-san-francisco-deluxe-mission-dlx\">Tobin Yelland\u003c/a>, \u003ca href=\"https://www.instagram.com/tholden415/\">Troy Holden\u003c/a>, \u003ca href=\"https://www.instagram.com/teenwitchsf/\">Andrea Sonnenberg\u003c/a> and \u003cem>Mother Jones\u003c/em> photo director \u003ca href=\"https://www.markmurrmann.com/\">Mark Murrmann\u003c/a>. The work of Murrmann and Potes also features heavily in a free zine available only at the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13988971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg\" alt=\"A white man with receding hairline examines a wall covered with black and white photo magnets, arranged on a white door. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A display of magnetic photographs allows visitors to create their own sequences during the ‘Hamburger Eyes: The First 25 Years’ exhibition at the Jewett Gallery at the San Francisco Public Library. \u003ccite>(Gustavo Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The importance of Potes’ indefatigable work highlighting photo talent cannot be overstated. His commitment to DIY forms of visual expression is not limited to his own output either. At the KQED-sponsored \u003ca href=\"https://www.kqed.org/event/6104\">Night of Ideas\u003c/a> earlier this month, Potes helmed a Hamburger Eyes panel that was followed by a zine-making workshop by Fish Juice’s Edie Trautwein, to encourage young creators to get involved. There is also a section at the library exhibit that offers visitors the chance to arrange a set of Potes’ magnetized photos into their own zine display.\u003c/p>\n\u003cp>For many of us who were first thrilled by the work in \u003cem>Hamburger Eyes\u003c/em> decades ago, our dirtbag days are firmly in the rearview. The fact that \u003cem>Hamburger Eyes\u003c/em> continues to survive and thrive on its own terms is truly an event to be celebrated.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfpl.org/exhibits/2026/04/23/continuing-story-life-earth-25-years-hamburger-eyes\">The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery through Sept. 24, 2026. The accompanying book ‘\u003ca href=\"https://hamburgereyes.com/2026/03/25/hamburger-eyes-the-first-25-years/\">Hamburger Eyes — The First 25 Years\u003c/a>’ is out now. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the forefront was \u003cem>\u003ca href=\"https://www.kqed.org/arts/10802/hamburger_eyes_the_odyssey\">Hamburger Eyes\u003c/a>\u003c/em>, a fanzine that captured and celebrated the everyday realities of city living in black-and-white candids. Founder and editor Ray Potes arrived in San Francisco (from San Diego) in 2003 and quickly began printing his zine on a Heidelberg press, with the assistance of his brother David. By 2007, Potes and his close collaborator Stefan Simikich had also set up the Photo Epicenter in the Mission District — an art gallery, dark room and social space. A year later came the first \u003cem>Hamburger Eyes\u003c/em> book: \u003ca href=\"https://powerhousebooks.com/books/hamburger-eyes-inside-burgerworld/\">\u003cem>Inside Burgerworld\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Potes has helmed or assisted countless photo projects in the time since, including his side project zine \u003cem>\u003ca href=\"https://rumorbooks.com/products/the-best-of-celly-brian-vol-3-hamburger-eyes\">Celly Brain\u003c/a>\u003c/em> which, for a time, offered an online cellphone photo portal that pre-dated Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13988956\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988956 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg\" alt=\"A woman lies with her upper face obscured by her own arm which is raised to reveal a hairy armpit. She sticks her tongue out.\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Tobin Yelland, ‘The Changsta,’ 1992 in the Hamburger Eyes exhibit at the San Francisco Public Library. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five months, the San Francisco Public Library’s Jewett Gallery is exhibiting work by 83 photographers who have featured in the pages of \u003cem>Hamburger Eyes\u003c/em>. These shots start with \u003ca href=\"https://www.tedpushinskyphotography.com/\">Ted Pushinsky\u003c/a>’s early-’80s street photography and transport viewers up to the present day, via images of everything and anything you can think of. Like kids lined up on a fairground ride, a dog carrying around a dead pigeon and an entirely wrecked automobile on the side of the road, adorned with a “FREE CAR” sign. The show is a fitting reflection of the chaos that \u003cem>Hamburger Eyes\u003c/em> has always embraced.\u003c/p>\n\u003cp>As usual, Potes (with co-curator Megan Merritt) has leaned into curious juxtapositions for \u003cem>The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/em>. In one corner, a photo of an aging man showing off his torso of stick and poke tattoos sits underneath the image of posed, suburban family portraits discarded inside a dumpster. A cluster of microphone-wielding journalists sits directly above curious hands touching a giant yellow python. Near a shot of an old man sitting quietly in a laundromat is a photograph of a young man stuck halfway through a hole in a chainlink fence, while his skateboard waits patiently for him on the other side. It is a dizzying, consistently absorbing display.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Accompanying the anniversary celebration is a new book too. \u003cem>Hamburger Eyes — The First 25 Years\u003c/em> features 200 photographers, including the likes of \u003ca href=\"https://www.kqed.org/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer\">Dave Schubert\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13967132/tobin-yelland-skateboard-photography-san-francisco-deluxe-mission-dlx\">Tobin Yelland\u003c/a>, \u003ca href=\"https://www.instagram.com/tholden415/\">Troy Holden\u003c/a>, \u003ca href=\"https://www.instagram.com/teenwitchsf/\">Andrea Sonnenberg\u003c/a> and \u003cem>Mother Jones\u003c/em> photo director \u003ca href=\"https://www.markmurrmann.com/\">Mark Murrmann\u003c/a>. The work of Murrmann and Potes also features heavily in a free zine available only at the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13988971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg\" alt=\"A white man with receding hairline examines a wall covered with black and white photo magnets, arranged on a white door. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A display of magnetic photographs allows visitors to create their own sequences during the ‘Hamburger Eyes: The First 25 Years’ exhibition at the Jewett Gallery at the San Francisco Public Library. \u003ccite>(Gustavo Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The importance of Potes’ indefatigable work highlighting photo talent cannot be overstated. His commitment to DIY forms of visual expression is not limited to his own output either. At the KQED-sponsored \u003ca href=\"https://www.kqed.org/event/6104\">Night of Ideas\u003c/a> earlier this month, Potes helmed a Hamburger Eyes panel that was followed by a zine-making workshop by Fish Juice’s Edie Trautwein, to encourage young creators to get involved. There is also a section at the library exhibit that offers visitors the chance to arrange a set of Potes’ magnetized photos into their own zine display.\u003c/p>\n\u003cp>For many of us who were first thrilled by the work in \u003cem>Hamburger Eyes\u003c/em> decades ago, our dirtbag days are firmly in the rearview. The fact that \u003cem>Hamburger Eyes\u003c/em> continues to survive and thrive on its own terms is truly an event to be celebrated.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfpl.org/exhibits/2026/04/23/continuing-story-life-earth-25-years-hamburger-eyes\">The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery through Sept. 24, 2026. The accompanying book ‘\u003ca href=\"https://hamburgereyes.com/2026/03/25/hamburger-eyes-the-first-25-years/\">Hamburger Eyes — The First 25 Years\u003c/a>’ is out now. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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