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"content": "\u003cp>San Francisco is blessed with not just one, but two science museums that cater to adults with weekly after-hours events. Tactile domes and planetariums — not just for kids! Over the past decade, the \u003ca href=\"https://www.kqed.org/arts/tag/exploratorium\">Exploratorium\u003c/a>’s After Dark and the \u003ca href=\"https://www.kqed.org/news/tag/california-academy-of-sciences\">California Academy of Science\u003c/a>’s NightLife (both on Thursdays), have become go-to date nights. Both offer drinks, DJs and hands-on, thematic activities.\u003c/p>\n\n\n\n\u003cp>But only one museum throws experimental sound performances into the mix. The Exploratorium’s \u003cem>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance\">Resonance\u003c/a>\u003c/em> series, which restarted after a long hiatus last summer, is a pocket of boundary-pushing noise in the midst of a building-wide party. The season kicked off Aug. 21 with a performance by \u003ca href=\"https://www.evicshen.com/\">Evicshen\u003c/a>, and closes May 28 with \u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance-circuit-des-yeux\">Circuit des Yeux\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Wayne Grim, a longtime Exploratorium employee and the curator of the series, says the shows are all about offering audiences something they haven’t heard before. “Whether it’s through someone doing something more experimental, or through music from a culture that they’re completely unfamiliar with,” he says, “or instruments that they’ve never seen before, or a process of making music that most people are completely unfamiliar with.”\u003c/p>\n\n\n\n\u003cp>For Evicshen’s season opener last August, San Francisco artist Victoria Shen unleashed her self-described “chaotic sound” in the museum’s observatory, manipulating conventional and handmade instruments as the sky darkened around the Bay Bridge behind her. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=OK78nJpKyrs\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Artists are invited to work with the museum’s fabricators and scientists. Play, essential to the spirit of the Exploratorium, is welcome. “When we invite people, we say … ‘Would you like to experiment? What would you do if you could do anything you wanted to — you don’t have to do your regular set or your regular thing,’” Grim says. \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite Shen’s foray onto the observatory deck, most \u003cem>Resonance\u003c/em> performances happen in the Kanbar Forum, a 200-seat theater with a deluxe Meyer sound system. According to Grim, “It’s a small, intimate space that is just a really great experience for the audience.” Each show is thoroughly documented, including the Q&A that follows each performance. The videos are uploaded to the museum’s YouTube afterwards.\u003c/p>\n\n\n\n\u003cp>For the May 28 show, fans of \u003ca href=\"https://circuitdesyeux.com/\">Circuit des Yeux\u003c/a> (celebrated, experimental Chicago musician Haley Fohr, who has a four-octave range) will get to experience \u003cem>Wordless Music\u003c/em>, a voice piece Fohr first performed in 2019. The hour of resonant voice and durational drone is now a duet with Alan Sparhawk of Low. At a \u003ca href=\"https://www.youtube.com/watch?v=Cr1VcKU-CAg\">recent show\u003c/a> at the Guggenheim Museum in New York, Fohr wore a crown of butterflies, Sparhawk a ghillie suit. Fohr called the performance “not for the faint of heart.”\u003c/p>\n\n\n\n\u003cp>This kind of rare occurrence — a piece that’s only being performed a few times across the country — is exactly the type of \u003cem>Resonance\u003c/em> programming Grim hopes to reestablish as the series continues. “I would like the Exploratorium to be more known as a place where sound is really important, and sound is something that we’re really excited to work with,” he says.\u003c/p>\n\n\n\n\u003cp>“I would just say keep your eyes out — or keep your ears out — for new things,” he adds, “because we’re going to have some really exciting shows coming up in the future and I hope to see more people there.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance-circuit-des-yeux\">Resonance: Circuit des Yeux featuring Alan Sparhawk\u003c/a>’ takes place Thursday, May 28, 7:30 p.m. at the Exploratorium (Pier 15, San Francisco).\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>For the May 28 show, fans of \u003ca href=\"https://circuitdesyeux.com/\">Circuit des Yeux\u003c/a> (celebrated, experimental Chicago musician Haley Fohr, who has a four-octave range) will get to experience \u003cem>Wordless Music\u003c/em>, a voice piece Fohr first performed in 2019. The hour of resonant voice and durational drone is now a duet with Alan Sparhawk of Low. At a \u003ca href=\"https://www.youtube.com/watch?v=Cr1VcKU-CAg\">recent show\u003c/a> at the Guggenheim Museum in New York, Fohr wore a crown of butterflies, Sparhawk a ghillie suit. Fohr called the performance “not for the faint of heart.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>This kind of rare occurrence — a piece that’s only being performed a few times across the country — is exactly the type of \u003cem>Resonance\u003c/em> programming Grim hopes to reestablish as the series continues. “I would like the Exploratorium to be more known as a place where sound is really important, and sound is something that we’re really excited to work with,” he says.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco is blessed with not just one, but two science museums that cater to adults with weekly after-hours events. Tactile domes and planetariums — not just for kids! Over the past decade, the \u003ca href=\"https://www.kqed.org/arts/tag/exploratorium\">Exploratorium\u003c/a>’s After Dark and the \u003ca href=\"https://www.kqed.org/news/tag/california-academy-of-sciences\">California Academy of Science\u003c/a>’s NightLife (both on Thursdays), have become go-to date nights. Both offer drinks, DJs and hands-on, thematic activities.\u003c/p>\n\n\n\n\u003cp>But only one museum throws experimental sound performances into the mix. The Exploratorium’s \u003cem>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance\">Resonance\u003c/a>\u003c/em> series, which restarted after a long hiatus last summer, is a pocket of boundary-pushing noise in the midst of a building-wide party. The season kicked off Aug. 21 with a performance by \u003ca href=\"https://www.evicshen.com/\">Evicshen\u003c/a>, and closes May 28 with \u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance-circuit-des-yeux\">Circuit des Yeux\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Wayne Grim, a longtime Exploratorium employee and the curator of the series, says the shows are all about offering audiences something they haven’t heard before. “Whether it’s through someone doing something more experimental, or through music from a culture that they’re completely unfamiliar with,” he says, “or instruments that they’ve never seen before, or a process of making music that most people are completely unfamiliar with.”\u003c/p>\n\n\n\n\u003cp>For Evicshen’s season opener last August, San Francisco artist Victoria Shen unleashed her self-described “chaotic sound” in the museum’s observatory, manipulating conventional and handmade instruments as the sky darkened around the Bay Bridge behind her. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\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/OK78nJpKyrs'\n title='//www.youtube.com/embed/OK78nJpKyrs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Artists are invited to work with the museum’s fabricators and scientists. Play, essential to the spirit of the Exploratorium, is welcome. “When we invite people, we say … ‘Would you like to experiment? What would you do if you could do anything you wanted to — you don’t have to do your regular set or your regular thing,’” Grim says. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite Shen’s foray onto the observatory deck, most \u003cem>Resonance\u003c/em> performances happen in the Kanbar Forum, a 200-seat theater with a deluxe Meyer sound system. According to Grim, “It’s a small, intimate space that is just a really great experience for the audience.” Each show is thoroughly documented, including the Q&A that follows each performance. The videos are uploaded to the museum’s YouTube afterwards.\u003c/p>\n\n\n\n\u003cp>For the May 28 show, fans of \u003ca href=\"https://circuitdesyeux.com/\">Circuit des Yeux\u003c/a> (celebrated, experimental Chicago musician Haley Fohr, who has a four-octave range) will get to experience \u003cem>Wordless Music\u003c/em>, a voice piece Fohr first performed in 2019. The hour of resonant voice and durational drone is now a duet with Alan Sparhawk of Low. At a \u003ca href=\"https://www.youtube.com/watch?v=Cr1VcKU-CAg\">recent show\u003c/a> at the Guggenheim Museum in New York, Fohr wore a crown of butterflies, Sparhawk a ghillie suit. Fohr called the performance “not for the faint of heart.”\u003c/p>\n\n\n\n\u003cp>This kind of rare occurrence — a piece that’s only being performed a few times across the country — is exactly the type of \u003cem>Resonance\u003c/em> programming Grim hopes to reestablish as the series continues. “I would like the Exploratorium to be more known as a place where sound is really important, and sound is something that we’re really excited to work with,” he says.\u003c/p>\n\n\n\n\u003cp>“I would just say keep your eyes out — or keep your ears out — for new things,” he adds, “because we’re going to have some really exciting shows coming up in the future and I hope to see more people there.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance-circuit-des-yeux\">Resonance: Circuit des Yeux featuring Alan Sparhawk\u003c/a>’ takes place Thursday, May 28, 7:30 p.m. at the Exploratorium (Pier 15, San Francisco).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "lake-merritt-dog-contest-oakland-2026",
"title": "The Lake Merritt Dog Contest Is Basically the Best Thing That’s Ever Happened",
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"content": "\u003cfigure class=\"wp-block-post-featured-image\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lake-Merritt-Dog-Contest-final-672x372.jpg\" class=\"attachment-post-thumbnail size-post-thumbnail wp-post-image\" alt=\"Photos of five different breeds of dogs arranged on a grid.\" style=\"object-fit:cover;\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lake-Merritt-Dog-Contest-final-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lake-Merritt-Dog-Contest-final-1038x576.jpg 1038w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/figure>\n\n\n\u003cp>It’s May! That means it’s time to vote! Yes, in the gubernatorial primaries and all of that stress-inducing malarkey. But there’s another important election happening in Oakland that you may not have heard about yet. It’s a race for those of us who need a treat after participating in actual politics. It’s a competition featuring only the best bois, niftiest grrls and stinkiest butts who’ve spread joy in the Town this year. It’s the \u003ca href=\"https://www.lakemerrittdogcontest.com/\">Lake Merritt Dog Contest\u003c/a> and voting is open right the heck now.\u003c/p>\n\n\n\n\u003cp>There are 145 floofers on the ballot for 2026 – the fifth year of this contest — and voters get to pick three pups each, which is only right and natural because picking just one is entirely impossible. This (not so) short list has everything! There are dogs named after celebrities, like Sasha Fierce, Archie Bon Jovi and Stan Lee. There are dogs rescued from organizations like Muttville, Family Dog, the SPCA, Oakland Animal Services and the Hawaiian Humane Society. And there are dogs — oh so many dogs — wearing hats for some reason.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"928\" data-id=\"13989953\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-2000x928.jpg\" alt=\"four dog images with descriptive text below\" class=\"wp-image-13989953\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-2000x928.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-2048x951.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A sampling of this year’s behatted contestants. (Courtesy of the Lake Merritt Dog Contest)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Longtime Oakland resident Nathan Porter started the contest back in 2022 as a post-pandemic means of raising community spirits. Porter, by day an AV and sound technician, initially put up flyers around his neighborhood for a “Vernon Street Dog Contest” and was genuinely surprised when scores of people signed up. Less surprising (given the fact that so many of his friends immediately embraced voting) was the fact that Porter’s own dog Maggie won Top Dog. This year, Porter has entered his current pup, a shepherd mix named Lisa who is “Lake Merritt’s gentlest gentle giant.”\u003c/p>\n\n\n\n\n\n\u003cp>The greatest twist of the Lake Merritt Dog Contest — the name changed when Porter relocated to Cleveland Heights — is that truthfully, every dog who enters wins, in their own way. Each is crowned with their very own superlative (Best Dressed, Sweetest Mama, Most Artistic, Classiest Canine, Best Personality, etc.) and the pups that make it to the annual awards ceremony are presented with a trophy and certificate. That, Porter says, is because “every dog is the best dog.”\u003c/p>\n\n\n\n\u003cp>Another twist? Not every dog is an actual dog. In 2023, second place went to a tiny horse named Cupcake. (“Though she may not appear as a dog,” her profile read, “this Shetland pony is just a large ball of fur, ready to snuggle up in your lap.”) Last year, third place went to a cat named Richard. (“He has a penis for a face and thinks he’s a dog” was his entire description.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-2000x1238.jpg\" alt=\"\" class=\"wp-image-13989956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-2000x1238.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-2048x1267.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Cupcake and Richard: also ‘Best Dogs.’\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“The contest has always been open to dogs of all kinds,” Porter tells KQED. “I’ve known people my whole life that are like, ‘Oh, I’m more of a dog person but my cat acts just like a dog.’ So, you know, I figured, let’s have a very inclusive practice.”\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year’s contest includes Beanie, a cat who loves “to play fetch & cuddle up at the foot of the bed every night. They’ve got a loud bark & will let you know when they enter the room or tell you to stop coughing.”\u003c/p>\n\n\n\n\u003cp>Voting, which began on May 17, closes on Sunday, May 31. This year’s awards ceremony will be held the same day near Lake Merritt’s iconic Fairyland sign. Porter organizes and funds everything relating to the contest entirely on his own — including hiring musician \u003ca href=\"https://www.instagram.com/jw__francis/\">JW Francis\u003c/a> to write a theme tune for the competition last year. Which, incidentally, sounds like pure unfiltered sunshine: \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=GRkdGJR2qAk\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Porter’s primary future goal is to find a volunteer skywriter to show the competing dogs some love in the East Bay heavens.\u003c/p>\n\n\n\n\u003cp>“The contest does cost me money,” Porter says, “but, I don’t know, it’s worth it. It’s fun. It’s making people happy, and I’m happy doing it. It’s a great way to get to know your neighbors and other dogs out there. It’s just really nice to have that sense of familiarity with all of your neighbors, both human and canine.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can vote for your favorite dogs at the \u003ca href=\"https://vote.lakemerrittdogcontest.com/\">Lake Merritt Dog Contest\u003c/a>’s website now. Details of all things relating to the contest, present and future, can be found by following the \u003ca href=\"https://www.instagram.com/lakemerritt_dogcontest/\">official Instagram account\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>It’s May! That means it’s time to vote! Yes, in the gubernatorial primaries and all of that stress-inducing malarkey. But there’s another important election happening in Oakland that you may not have heard about yet. It’s a race for those of us who need a treat after participating in actual politics. It’s a competition featuring only the best bois, niftiest grrls and stinkiest butts who’ve spread joy in the Town this year. It’s the \u003ca href=\"https://www.lakemerrittdogcontest.com/\">Lake Merritt Dog Contest\u003c/a> and voting is open right the heck now.\u003c/p>\n",
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"innerHTML": "\n\u003cp>There are 145 floofers on the ballot for 2026 – the fifth year of this contest — and voters get to pick three pups each, which is only right and natural because picking just one is entirely impossible. This (not so) short list has everything! There are dogs named after celebrities, like Sasha Fierce, Archie Bon Jovi and Stan Lee. There are dogs rescued from organizations like Muttville, Family Dog, the SPCA, Oakland Animal Services and the Hawaiian Humane Society. And there are dogs — oh so many dogs — wearing hats for some reason.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Longtime Oakland resident Nathan Porter started the contest back in 2022 as a post-pandemic means of raising community spirits. Porter, by day an AV and sound technician, initially put up flyers around his neighborhood for a “Vernon Street Dog Contest” and was genuinely surprised when scores of people signed up. Less surprising (given the fact that so many of his friends immediately embraced voting) was the fact that Porter’s own dog Maggie won Top Dog. This year, Porter has entered his current pup, a shepherd mix named Lisa who is “Lake Merritt’s gentlest gentle giant.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The greatest twist of the Lake Merritt Dog Contest — the name changed when Porter relocated to Cleveland Heights — is that truthfully, every dog who enters wins, in their own way. Each is crowned with their very own superlative (Best Dressed, Sweetest Mama, Most Artistic, Classiest Canine, Best Personality, etc.) and the pups that make it to the annual awards ceremony are presented with a trophy and certificate. That, Porter says, is because “every dog is the best dog.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Another twist? Not every dog is an actual dog. In 2023, second place went to a tiny horse named Cupcake. (“Though she may not appear as a dog,” her profile read, “this Shetland pony is just a large ball of fur, ready to snuggle up in your lap.”) Last year, third place went to a cat named Richard. (“He has a penis for a face and thinks he’s a dog” was his entire description.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>“The contest has always been open to dogs of all kinds,” Porter tells KQED. “I’ve known people my whole life that are like, ‘Oh, I’m more of a dog person but my cat acts just like a dog.’ So, you know, I figured, let’s have a very inclusive practice.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>This year’s contest includes Beanie, a cat who loves “to play fetch & cuddle up at the foot of the bed every night. They’ve got a loud bark & will let you know when they enter the room or tell you to stop coughing.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Voting, which began on May 17, closes on Sunday, May 31. This year’s awards ceremony will be held the same day near Lake Merritt’s iconic Fairyland sign. Porter organizes and funds everything relating to the contest entirely on his own — including hiring musician \u003ca href=\"https://www.instagram.com/jw__francis/\">JW Francis\u003c/a> to write a theme tune for the competition last year. Which, incidentally, sounds like pure unfiltered sunshine: \u003c/p>\n",
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"innerHTML": "\n\u003cp>Porter’s primary future goal is to find a volunteer skywriter to show the competing dogs some love in the East Bay heavens.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“The contest does cost me money,” Porter says, “but, I don’t know, it’s worth it. It’s fun. It’s making people happy, and I’m happy doing it. It’s a great way to get to know your neighbors and other dogs out there. It’s just really nice to have that sense of familiarity with all of your neighbors, both human and canine.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>You can vote for your favorite dogs at the \u003ca href=\"https://vote.lakemerrittdogcontest.com/\">Lake Merritt Dog Contest\u003c/a>’s website now. Details of all things relating to the contest, present and future, can be found by following the \u003ca href=\"https://www.instagram.com/lakemerritt_dogcontest/\">official Instagram account\u003c/a>.\u003c/em>\u003c/p>\n",
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"excerpt": "Voting is live for the extremely pure fifth annual Oakland event, in which ‘every dog is the best dog.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-post-featured-image\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lake-Merritt-Dog-Contest-final-672x372.jpg\" class=\"attachment-post-thumbnail size-post-thumbnail wp-post-image\" alt=\"Photos of five different breeds of dogs arranged on a grid.\" style=\"object-fit:cover;\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lake-Merritt-Dog-Contest-final-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lake-Merritt-Dog-Contest-final-1038x576.jpg 1038w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/figure>\n\n\n\u003cp>It’s May! That means it’s time to vote! Yes, in the gubernatorial primaries and all of that stress-inducing malarkey. But there’s another important election happening in Oakland that you may not have heard about yet. It’s a race for those of us who need a treat after participating in actual politics. It’s a competition featuring only the best bois, niftiest grrls and stinkiest butts who’ve spread joy in the Town this year. It’s the \u003ca href=\"https://www.lakemerrittdogcontest.com/\">Lake Merritt Dog Contest\u003c/a> and voting is open right the heck now.\u003c/p>\n\n\n\n\u003cp>There are 145 floofers on the ballot for 2026 – the fifth year of this contest — and voters get to pick three pups each, which is only right and natural because picking just one is entirely impossible. This (not so) short list has everything! There are dogs named after celebrities, like Sasha Fierce, Archie Bon Jovi and Stan Lee. There are dogs rescued from organizations like Muttville, Family Dog, the SPCA, Oakland Animal Services and the Hawaiian Humane Society. And there are dogs — oh so many dogs — wearing hats for some reason.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"928\" data-id=\"13989953\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-2000x928.jpg\" alt=\"four dog images with descriptive text below\" class=\"wp-image-13989953\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-2000x928.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/dogs-in-hats-2048x951.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A sampling of this year’s behatted contestants. (Courtesy of the Lake Merritt Dog Contest)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Longtime Oakland resident Nathan Porter started the contest back in 2022 as a post-pandemic means of raising community spirits. Porter, by day an AV and sound technician, initially put up flyers around his neighborhood for a “Vernon Street Dog Contest” and was genuinely surprised when scores of people signed up. Less surprising (given the fact that so many of his friends immediately embraced voting) was the fact that Porter’s own dog Maggie won Top Dog. This year, Porter has entered his current pup, a shepherd mix named Lisa who is “Lake Merritt’s gentlest gentle giant.”\u003c/p>\n\n\n\n\n\n\u003cp>The greatest twist of the Lake Merritt Dog Contest — the name changed when Porter relocated to Cleveland Heights — is that truthfully, every dog who enters wins, in their own way. Each is crowned with their very own superlative (Best Dressed, Sweetest Mama, Most Artistic, Classiest Canine, Best Personality, etc.) and the pups that make it to the annual awards ceremony are presented with a trophy and certificate. That, Porter says, is because “every dog is the best dog.”\u003c/p>\n\n\n\n\u003cp>Another twist? Not every dog is an actual dog. In 2023, second place went to a tiny horse named Cupcake. (“Though she may not appear as a dog,” her profile read, “this Shetland pony is just a large ball of fur, ready to snuggle up in your lap.”) Last year, third place went to a cat named Richard. (“He has a penis for a face and thinks he’s a dog” was his entire description.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-2000x1238.jpg\" alt=\"\" class=\"wp-image-13989956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-2000x1238.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/cupcake-richard-2048x1267.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Cupcake and Richard: also ‘Best Dogs.’\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“The contest has always been open to dogs of all kinds,” Porter tells KQED. “I’ve known people my whole life that are like, ‘Oh, I’m more of a dog person but my cat acts just like a dog.’ So, you know, I figured, let’s have a very inclusive practice.”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year’s contest includes Beanie, a cat who loves “to play fetch & cuddle up at the foot of the bed every night. They’ve got a loud bark & will let you know when they enter the room or tell you to stop coughing.”\u003c/p>\n\n\n\n\u003cp>Voting, which began on May 17, closes on Sunday, May 31. This year’s awards ceremony will be held the same day near Lake Merritt’s iconic Fairyland sign. Porter organizes and funds everything relating to the contest entirely on his own — including hiring musician \u003ca href=\"https://www.instagram.com/jw__francis/\">JW Francis\u003c/a> to write a theme tune for the competition last year. Which, incidentally, sounds like pure unfiltered sunshine: \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\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/GRkdGJR2qAk'\n title='//www.youtube.com/embed/GRkdGJR2qAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Porter’s primary future goal is to find a volunteer skywriter to show the competing dogs some love in the East Bay heavens.\u003c/p>\n\n\n\n\u003cp>“The contest does cost me money,” Porter says, “but, I don’t know, it’s worth it. It’s fun. It’s making people happy, and I’m happy doing it. It’s a great way to get to know your neighbors and other dogs out there. It’s just really nice to have that sense of familiarity with all of your neighbors, both human and canine.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can vote for your favorite dogs at the \u003ca href=\"https://vote.lakemerrittdogcontest.com/\">Lake Merritt Dog Contest\u003c/a>’s website now. Details of all things relating to the contest, present and future, can be found by following the \u003ca href=\"https://www.instagram.com/lakemerritt_dogcontest/\">official Instagram account\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "aztec-stories-in-modern-mexico-bedford-gallery-review-walnut-creek",
"title": "‘Aztec Stories in Modern Mexico’ Brings Vibrant Artwork to Walnut Creek",
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"headTitle": "‘Aztec Stories in Modern Mexico’ Brings Vibrant Artwork to Walnut Creek | KQED",
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"content": "\u003cp>A small crowd of near-identical human figures, painted in Day-Glo colors, dance across handmade paper. The figures move in sinuous, stacked rows of flattened perspective, reminiscent of the Mesoamerican codex illustrations that date back centuries, to the Spanish conquistadors’ arrival in what is now Mexico. But this is a work from 1970 by Aztec-Nahua artist Inocencio Jiménez Chino.\u003c/p>\n\n\n\n\u003cp>\u003cem>Santa Cruz \u003c/em>(\u003cem>Holy Cross\u003c/em>) features people in flashy-hued bell-bottoms, smiling with big eyes and even bigger hair. They parade toward a large cross, holding candles, plant fronds and musical instruments, integrating Christian practices with ancestral rituals for crop-nourishing rain.\u003c/p>\n\n\n\n\n\n\u003cp>The painting is part of \u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Jiménez Chino’s first-ever retrospective\u003c/a>, currently on view at Walnut Creek’s Bedford Gallery. The show includes dozens of the artist’s exquisite, small-scale paintings and drawings, fantastic portrayals of rural life in the Mexican state of Guerrero, made over the past half century. As the exhibition’s title suggests, \u003cem>Aztec Stories in Modern Mexico \u003c/em>demonstrates a line of cultural resilience dating back to pre-Columbian times, as well as Jiménez Chino’s observations of the cultural possibilities and challenges that continue through the present day.\u003c/p>\n\n\n\n\u003cp>The work began as a creative side gig for Jiménez Chino, a way to engage with expanding tourist hunger for local culture. The self-taught artist initially channeled subject matter and styles from long-standing traditions; he depicted human figures with stereotypical features (all with similarly prominent chins and noses), and adorned artwork borders with intricate geometrics that wouldn’t be out of place on Central American visual art dating back to the 1500s.\u003c/p>\n\n\n\n\u003cp>In \u003cem>Santa Cruz\u003c/em> and other early paintings — 1972’s \u003cem>La sirena: la madre de los peces \u003c/em>(\u003cem>The Mermaid: Mother of the Fish\u003c/em>) and 1979’s \u003cem>Los cazadores \u003c/em>(\u003cem>The Hunters\u003c/em>) — glorious renderings of the sun make it a character itself. Jiménez Chino animates the celestial body as a sort of presiding deity, giving his sun a human face. He dedicates large portions of his compositions to its radiating, golden striations, sometimes set in skies also busy with stars.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"1200\" data-id=\"13989980\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jime%CC%81nez-Chino_15_web.jpg\" alt=\"\" class=\"wp-image-13989980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web-768x960.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-element-caption\">Inocencio Jiménez Chino. (Mariceu Erthal)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"1200\" data-id=\"13989979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web.jpg\" alt=\"\" class=\"wp-image-13989979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web-768x960.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Aztec Stories in Modern Mexico: An Inocencio Jiménez Chino Retrospective’ at Bedford Gallery. (Shaun Roberts)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Over decades of artistic development, Jiménez Chino’s style has evolved to incorporate more varied and realistic human faces and bodies, while continuing to manifest a larger cultural endurance. Through imagery and materials, Jiménez Chino creates work that is rooted in an Aztec-Nahua culture that colonialism attempted to rub out.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s an unschooled quality to Jiménez Chino’s earliest renderings; they are simple, even childlike, while never defaulting to “rough” or quaint. With his cavalcade of carefully outlined figures and fine attention to both detail and overall composition, he ensures that scene after scene surges to life. In \u003cem>El Festival del Pueblo (The Town Festival)\u003c/em>, a painting from 1987, golden trumpets pop with tints that suggest brash, sculpted sounds emerging from those instruments.\u003c/p>\n\n\n\n\u003cp>His bright acrylic colors (trees in hallucinatory fuchsia pastels or deep, saturated greens; glowing orange and yellow clothing) are most frequently painted onto handmade “amate” paper, traditionally crafted in San Pablito Pahuatlán, in the state of Pueblo. (The material was banned in the era of Spanish colonialism). The distinct amate texture is inviting, with each sheet irregularly shaped by wavy surfaces and edges. The landscapes portrayed suggest antique maps, or portals to some mythical paradise.\u003c/p>\n\n\n\n\u003cp>Part of that feeling comes from the meticulous harmoniousness of Jiménez Chino’s creations. His compositions manage to pack in figures while maintaining spaciousness amid green hills and mountains, startling blue rivers and skies. Fecund landscapes with tidy gardens and larger-than-life animal inhabitants enliven seductively idealized settings. Even in scenes bursting with crowds and momentous events, there’s always a sense that much lies beyond what’s depicted.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Ti%CC%81o-Konejoh-y-la-mun%CC%83eca-de-cera-ilustracio%CC%81n-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000.jpg\" alt=\"\" class=\"wp-image-13989990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-1536x1044.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Inocencio Jiménez Chino, ‘Tío Konejoh y la muñeca de cera, ilustración 1’ (Uncle Rabbit & the Wax Doll: Plate 1), 2013; acrylic on handmade amate, 15 x 23 inches. (Courtesy of Catalyst Contemporary)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Though not as immediately arresting as his more colorful painted work, three prints from a series of Jiménez Chino’s large black ink drawings are also on exhibit. These were part of an Indigenous-organized campaign comprising two dozen Nahuatl-speaking communities along the Balsas River who protested a massive proposed hydroelectric dam in the early 1990s. Their successful opposition to the project was a cultural and political victory, maintaining their territorial rights and their say over local resources. In the series, Jiménez Chino depicts busy scenes of ordinary life alongside determined mass mobilization — \u003cem>Vida en paz y armonía con la naturaleza \u003c/em>(\u003cem>Living in peace and harmony with nature\u003c/em>) and \u003cem>Protesta contra la represa \u003c/em>(\u003cem>Protesting the dam\u003c/em>), respectively.\u003c/p>\n\n\n\n\u003cp>Similarly, other scenes of woe and strife — his 2025 painting \u003cem>Conflicto agrario \u003c/em>(\u003cem>Agrarian Conflict\u003c/em>) regards a land dispute between neighbors — are presented as part of life’s ongoing larger tableaux. Jiménez Chino shows a people pursuing centuries-old forms of livelihood and pleasure, despite the impacts of modernity. His great skill is not in his depictions of the paradisical or of the everyday — it is in his combination of the two in one worldview. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Aztec Stories in Modern Mexico: An Inocencio Jiménez Chino Retrospective\u003c/a>’ is on view through June 28, 2026 at the Bedford Gallery at the Lesher Center for the Arts (1601 Civic Dr., Walnut Creek).\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>In \u003cem>Santa Cruz\u003c/em> and other early paintings — 1972’s \u003cem>La sirena: la madre de los peces \u003c/em>(\u003cem>The Mermaid: Mother of the Fish\u003c/em>) and 1979’s \u003cem>Los cazadores \u003c/em>(\u003cem>The Hunters\u003c/em>) — glorious renderings of the sun make it a character itself. Jiménez Chino animates the celestial body as a sort of presiding deity, giving his sun a human face. He dedicates large portions of his compositions to its radiating, golden striations, sometimes set in skies also busy with stars.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Over decades of artistic development, Jiménez Chino’s style has evolved to incorporate more varied and realistic human faces and bodies, while continuing to manifest a larger cultural endurance. Through imagery and materials, Jiménez Chino creates work that is rooted in an Aztec-Nahua culture that colonialism attempted to rub out.\u003c/p>\n",
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"innerHTML": "\n\u003cp>There’s an unschooled quality to Jiménez Chino’s earliest renderings; they are simple, even childlike, while never defaulting to “rough” or quaint. With his cavalcade of carefully outlined figures and fine attention to both detail and overall composition, he ensures that scene after scene surges to life. In \u003cem>El Festival del Pueblo (The Town Festival)\u003c/em>, a painting from 1987, golden trumpets pop with tints that suggest brash, sculpted sounds emerging from those instruments.\u003c/p>\n",
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"innerHTML": "\n\u003cp>His bright acrylic colors (trees in hallucinatory fuchsia pastels or deep, saturated greens; glowing orange and yellow clothing) are most frequently painted onto handmade “amate” paper, traditionally crafted in San Pablito Pahuatlán, in the state of Pueblo. (The material was banned in the era of Spanish colonialism). The distinct amate texture is inviting, with each sheet irregularly shaped by wavy surfaces and edges. The landscapes portrayed suggest antique maps, or portals to some mythical paradise.\u003c/p>\n",
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"\n\u003cp>His bright acrylic colors (trees in hallucinatory fuchsia pastels or deep, saturated greens; glowing orange and yellow clothing) are most frequently painted onto handmade “amate” paper, traditionally crafted in San Pablito Pahuatlán, in the state of Pueblo. (The material was banned in the era of Spanish colonialism). The distinct amate texture is inviting, with each sheet irregularly shaped by wavy surfaces and edges. The landscapes portrayed suggest antique maps, or portals to some mythical paradise.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Part of that feeling comes from the meticulous harmoniousness of Jiménez Chino’s creations. His compositions manage to pack in figures while maintaining spaciousness amid green hills and mountains, startling blue rivers and skies. Fecund landscapes with tidy gardens and larger-than-life animal inhabitants enliven seductively idealized settings. Even in scenes bursting with crowds and momentous events, there’s always a sense that much lies beyond what’s depicted.\u003c/p>\n",
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"\n\u003cp>Part of that feeling comes from the meticulous harmoniousness of Jiménez Chino’s creations. His compositions manage to pack in figures while maintaining spaciousness amid green hills and mountains, startling blue rivers and skies. Fecund landscapes with tidy gardens and larger-than-life animal inhabitants enliven seductively idealized settings. Even in scenes bursting with crowds and momentous events, there’s always a sense that much lies beyond what’s depicted.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Though not as immediately arresting as his more colorful painted work, three prints from a series of Jiménez Chino’s large black ink drawings are also on exhibit. These were part of an Indigenous-organized campaign comprising two dozen Nahuatl-speaking communities along the Balsas River who protested a massive proposed hydroelectric dam in the early 1990s. Their successful opposition to the project was a cultural and political victory, maintaining their territorial rights and their say over local resources. In the series, Jiménez Chino depicts busy scenes of ordinary life alongside determined mass mobilization — \u003cem>Vida en paz y armonía con la naturaleza \u003c/em>(\u003cem>Living in peace and harmony with nature\u003c/em>) and \u003cem>Protesta contra la represa \u003c/em>(\u003cem>Protesting the dam\u003c/em>), respectively.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Similarly, other scenes of woe and strife — his 2025 painting \u003cem>Conflicto agrario \u003c/em>(\u003cem>Agrarian Conflict\u003c/em>) regards a land dispute between neighbors — are presented as part of life’s ongoing larger tableaux. Jiménez Chino shows a people pursuing centuries-old forms of livelihood and pleasure, despite the impacts of modernity. His great skill is not in his depictions of the paradisical or of the everyday — it is in his combination of the two in one worldview. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘\u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Aztec Stories in Modern Mexico: An Inocencio Jiménez Chino Retrospective\u003c/a>’ is on view through June 28, 2026 at the Bedford Gallery at the Lesher Center for the Arts (1601 Civic Dr., Walnut Creek).\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A small crowd of near-identical human figures, painted in Day-Glo colors, dance across handmade paper. The figures move in sinuous, stacked rows of flattened perspective, reminiscent of the Mesoamerican codex illustrations that date back centuries, to the Spanish conquistadors’ arrival in what is now Mexico. But this is a work from 1970 by Aztec-Nahua artist Inocencio Jiménez Chino.\u003c/p>\n\n\n\n\u003cp>\u003cem>Santa Cruz \u003c/em>(\u003cem>Holy Cross\u003c/em>) features people in flashy-hued bell-bottoms, smiling with big eyes and even bigger hair. They parade toward a large cross, holding candles, plant fronds and musical instruments, integrating Christian practices with ancestral rituals for crop-nourishing rain.\u003c/p>\n\n\n\n\n\n\u003cp>The painting is part of \u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Jiménez Chino’s first-ever retrospective\u003c/a>, currently on view at Walnut Creek’s Bedford Gallery. The show includes dozens of the artist’s exquisite, small-scale paintings and drawings, fantastic portrayals of rural life in the Mexican state of Guerrero, made over the past half century. As the exhibition’s title suggests, \u003cem>Aztec Stories in Modern Mexico \u003c/em>demonstrates a line of cultural resilience dating back to pre-Columbian times, as well as Jiménez Chino’s observations of the cultural possibilities and challenges that continue through the present day.\u003c/p>\n\n\n\n\u003cp>The work began as a creative side gig for Jiménez Chino, a way to engage with expanding tourist hunger for local culture. The self-taught artist initially channeled subject matter and styles from long-standing traditions; he depicted human figures with stereotypical features (all with similarly prominent chins and noses), and adorned artwork borders with intricate geometrics that wouldn’t be out of place on Central American visual art dating back to the 1500s.\u003c/p>\n\n\n\n\u003cp>In \u003cem>Santa Cruz\u003c/em> and other early paintings — 1972’s \u003cem>La sirena: la madre de los peces \u003c/em>(\u003cem>The Mermaid: Mother of the Fish\u003c/em>) and 1979’s \u003cem>Los cazadores \u003c/em>(\u003cem>The Hunters\u003c/em>) — glorious renderings of the sun make it a character itself. Jiménez Chino animates the celestial body as a sort of presiding deity, giving his sun a human face. He dedicates large portions of his compositions to its radiating, golden striations, sometimes set in skies also busy with stars.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"1200\" data-id=\"13989980\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jime%CC%81nez-Chino_15_web.jpg\" alt=\"\" class=\"wp-image-13989980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web-768x960.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-element-caption\">Inocencio Jiménez Chino. (Mariceu Erthal)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"1200\" data-id=\"13989979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web.jpg\" alt=\"\" class=\"wp-image-13989979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web-768x960.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Aztec Stories in Modern Mexico: An Inocencio Jiménez Chino Retrospective’ at Bedford Gallery. (Shaun Roberts)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Over decades of artistic development, Jiménez Chino’s style has evolved to incorporate more varied and realistic human faces and bodies, while continuing to manifest a larger cultural endurance. Through imagery and materials, Jiménez Chino creates work that is rooted in an Aztec-Nahua culture that colonialism attempted to rub out.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s an unschooled quality to Jiménez Chino’s earliest renderings; they are simple, even childlike, while never defaulting to “rough” or quaint. With his cavalcade of carefully outlined figures and fine attention to both detail and overall composition, he ensures that scene after scene surges to life. In \u003cem>El Festival del Pueblo (The Town Festival)\u003c/em>, a painting from 1987, golden trumpets pop with tints that suggest brash, sculpted sounds emerging from those instruments.\u003c/p>\n\n\n\n\u003cp>His bright acrylic colors (trees in hallucinatory fuchsia pastels or deep, saturated greens; glowing orange and yellow clothing) are most frequently painted onto handmade “amate” paper, traditionally crafted in San Pablito Pahuatlán, in the state of Pueblo. (The material was banned in the era of Spanish colonialism). The distinct amate texture is inviting, with each sheet irregularly shaped by wavy surfaces and edges. The landscapes portrayed suggest antique maps, or portals to some mythical paradise.\u003c/p>\n\n\n\n\u003cp>Part of that feeling comes from the meticulous harmoniousness of Jiménez Chino’s creations. His compositions manage to pack in figures while maintaining spaciousness amid green hills and mountains, startling blue rivers and skies. Fecund landscapes with tidy gardens and larger-than-life animal inhabitants enliven seductively idealized settings. Even in scenes bursting with crowds and momentous events, there’s always a sense that much lies beyond what’s depicted.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Ti%CC%81o-Konejoh-y-la-mun%CC%83eca-de-cera-ilustracio%CC%81n-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000.jpg\" alt=\"\" class=\"wp-image-13989990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-1536x1044.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Inocencio Jiménez Chino, ‘Tío Konejoh y la muñeca de cera, ilustración 1’ (Uncle Rabbit & the Wax Doll: Plate 1), 2013; acrylic on handmade amate, 15 x 23 inches. (Courtesy of Catalyst Contemporary)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Though not as immediately arresting as his more colorful painted work, three prints from a series of Jiménez Chino’s large black ink drawings are also on exhibit. These were part of an Indigenous-organized campaign comprising two dozen Nahuatl-speaking communities along the Balsas River who protested a massive proposed hydroelectric dam in the early 1990s. Their successful opposition to the project was a cultural and political victory, maintaining their territorial rights and their say over local resources. In the series, Jiménez Chino depicts busy scenes of ordinary life alongside determined mass mobilization — \u003cem>Vida en paz y armonía con la naturaleza \u003c/em>(\u003cem>Living in peace and harmony with nature\u003c/em>) and \u003cem>Protesta contra la represa \u003c/em>(\u003cem>Protesting the dam\u003c/em>), respectively.\u003c/p>\n\n\n\n\u003cp>Similarly, other scenes of woe and strife — his 2025 painting \u003cem>Conflicto agrario \u003c/em>(\u003cem>Agrarian Conflict\u003c/em>) regards a land dispute between neighbors — are presented as part of life’s ongoing larger tableaux. Jiménez Chino shows a people pursuing centuries-old forms of livelihood and pleasure, despite the impacts of modernity. His great skill is not in his depictions of the paradisical or of the everyday — it is in his combination of the two in one worldview. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Aztec Stories in Modern Mexico: An Inocencio Jiménez Chino Retrospective\u003c/a>’ is on view through June 28, 2026 at the Bedford Gallery at the Lesher Center for the Arts (1601 Civic Dr., Walnut Creek).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Is God Is,’ Black Women’s Revenge Becomes Spiritual",
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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>\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>\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>\u003c/p>\u003c/div>",
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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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"title": "In ‘Coyoteland,’ the Territorial East Bay Isn’t Just for Animals",
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"headTitle": "In ‘Coyoteland,’ the Territorial East Bay Isn’t Just for Animals | KQED",
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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 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.” \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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"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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"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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"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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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