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"content": "\u003cp>If you were a Bay Area dirtbag in the early 2000s, you likely remember the thrill of seeing your people, your neighborhoods and your more nefarious activities reflected back at you in the street photography of the period. \u003cem>Vice\u003c/em> magazine is usually credited with popularizing the unfiltered and uncompromising aesthetic, but Bay Area photographers were arguably the underground leaders.\u003c/p>\n\u003cp>[aside postid='arts_13983681']At the forefront was \u003cem>\u003ca href=\"https://www.kqed.org/arts/10802/hamburger_eyes_the_odyssey\">Hamburger Eyes\u003c/a>\u003c/em>, a fanzine that captured and celebrated the everyday realities of city living in black-and-white candids. Founder and editor Ray Potes arrived in San Francisco (from San Diego) in 2003 and quickly began printing his zine on a Heidelberg press, with the assistance of his brother David. By 2007, Potes and his close collaborator Stefan Simikich had also set up the Photo Epicenter in the Mission District — an art gallery, dark room and social space. A year later came the first \u003cem>Hamburger Eyes\u003c/em> book: \u003ca href=\"https://powerhousebooks.com/books/hamburger-eyes-inside-burgerworld/\">\u003cem>Inside Burgerworld\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Potes has helmed or assisted countless photo projects in the time since, including his side project zine \u003cem>\u003ca href=\"https://rumorbooks.com/products/the-best-of-celly-brian-vol-3-hamburger-eyes\">Celly Brain\u003c/a>\u003c/em> which, for a time, offered an online cellphone photo portal that pre-dated Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13988956\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988956 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg\" alt=\"A woman lies with her upper face obscured by her own arm which is raised to reveal a hairy armpit. She sticks her tongue out.\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Tobin Yelland, ‘The Changsta,’ 1992 in the Hamburger Eyes exhibit at the San Francisco Public Library. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five months, the San Francisco Public Library’s Jewett Gallery is exhibiting work by 83 photographers who have featured in the pages of \u003cem>Hamburger Eyes\u003c/em>. These shots start with \u003ca href=\"https://www.tedpushinskyphotography.com/\">Ted Pushinsky\u003c/a>’s early-’80s street photography and transport viewers up to the present day, via images of everything and anything you can think of. Like kids lined up on a fairground ride, a dog carrying around a dead pigeon and an entirely wrecked automobile on the side of the road, adorned with a “FREE CAR” sign. The show is a fitting reflection of the chaos that \u003cem>Hamburger Eyes\u003c/em> has always embraced.\u003c/p>\n\u003cp>As usual, Potes (with co-curator Megan Merritt) has leaned into curious juxtapositions for \u003cem>The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/em>. In one corner, a photo of an aging man showing off his torso of stick and poke tattoos sits underneath the image of posed, suburban family portraits discarded inside a dumpster. A cluster of microphone-wielding journalists sits directly above curious hands touching a giant yellow python. Near a shot of an old man sitting quietly in a laundromat is a photograph of a young man stuck halfway through a hole in a chainlink fence, while his skateboard waits patiently for him on the other side. It is a dizzying, consistently absorbing display.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Accompanying the anniversary celebration is a new book too. \u003cem>Hamburger Eyes — The First 25 Years\u003c/em> features 200 photographers, including the likes of \u003ca href=\"https://www.kqed.org/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer\">Dave Schubert\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13967132/tobin-yelland-skateboard-photography-san-francisco-deluxe-mission-dlx\">Tobin Yelland\u003c/a>, \u003ca href=\"https://www.instagram.com/tholden415/\">Troy Holden\u003c/a>, \u003ca href=\"https://www.instagram.com/teenwitchsf/\">Andrea Sonnenberg\u003c/a> and \u003cem>Mother Jones\u003c/em> photo director \u003ca href=\"https://www.markmurrmann.com/\">Mark Murrmann\u003c/a>. The work of Murrmann and Potes also features heavily in a free zine available only at the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13988971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg\" alt=\"A white man with receding hairline examines a wall covered with black and white photo magnets, arranged on a white door. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A display of magnetic photographs allows visitors to create their own sequences during the ‘Hamburger Eyes: The First 25 Years’ exhibition at the Jewett Gallery at the San Francisco Public Library. \u003ccite>(Gustavo Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The importance of Potes’ indefatigable work highlighting photo talent cannot be overstated. His commitment to DIY forms of visual expression is not limited to his own output either. At the KQED-sponsored \u003ca href=\"https://www.kqed.org/event/6104\">Night of Ideas\u003c/a> earlier this month, Potes helmed a Hamburger Eyes panel that was followed by a zine-making workshop by Fish Juice’s Edie Trautwein, to encourage young creators to get involved. There is also a section at the library exhibit that offers visitors the chance to arrange a set of Potes’ magnetized photos into their own zine display.\u003c/p>\n\u003cp>For many of us who were first thrilled by the work in \u003cem>Hamburger Eyes\u003c/em> decades ago, our dirtbag days are firmly in the rearview. The fact that \u003cem>Hamburger Eyes\u003c/em> continues to survive and thrive on its own terms is truly an event to be celebrated.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfpl.org/exhibits/2026/04/23/continuing-story-life-earth-25-years-hamburger-eyes\">The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery through Sept. 24, 2026. The accompanying book ‘\u003ca href=\"https://hamburgereyes.com/2026/03/25/hamburger-eyes-the-first-25-years/\">Hamburger Eyes — The First 25 Years\u003c/a>’ is out now. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were a Bay Area dirtbag in the early 2000s, you likely remember the thrill of seeing your people, your neighborhoods and your more nefarious activities reflected back at you in the street photography of the period. \u003cem>Vice\u003c/em> magazine is usually credited with popularizing the unfiltered and uncompromising aesthetic, but Bay Area photographers were arguably the underground leaders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the forefront was \u003cem>\u003ca href=\"https://www.kqed.org/arts/10802/hamburger_eyes_the_odyssey\">Hamburger Eyes\u003c/a>\u003c/em>, a fanzine that captured and celebrated the everyday realities of city living in black-and-white candids. Founder and editor Ray Potes arrived in San Francisco (from San Diego) in 2003 and quickly began printing his zine on a Heidelberg press, with the assistance of his brother David. By 2007, Potes and his close collaborator Stefan Simikich had also set up the Photo Epicenter in the Mission District — an art gallery, dark room and social space. A year later came the first \u003cem>Hamburger Eyes\u003c/em> book: \u003ca href=\"https://powerhousebooks.com/books/hamburger-eyes-inside-burgerworld/\">\u003cem>Inside Burgerworld\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Potes has helmed or assisted countless photo projects in the time since, including his side project zine \u003cem>\u003ca href=\"https://rumorbooks.com/products/the-best-of-celly-brian-vol-3-hamburger-eyes\">Celly Brain\u003c/a>\u003c/em> which, for a time, offered an online cellphone photo portal that pre-dated Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13988956\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988956 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg\" alt=\"A woman lies with her upper face obscured by her own arm which is raised to reveal a hairy armpit. She sticks her tongue out.\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Tobin Yelland, ‘The Changsta,’ 1992 in the Hamburger Eyes exhibit at the San Francisco Public Library. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five months, the San Francisco Public Library’s Jewett Gallery is exhibiting work by 83 photographers who have featured in the pages of \u003cem>Hamburger Eyes\u003c/em>. These shots start with \u003ca href=\"https://www.tedpushinskyphotography.com/\">Ted Pushinsky\u003c/a>’s early-’80s street photography and transport viewers up to the present day, via images of everything and anything you can think of. Like kids lined up on a fairground ride, a dog carrying around a dead pigeon and an entirely wrecked automobile on the side of the road, adorned with a “FREE CAR” sign. The show is a fitting reflection of the chaos that \u003cem>Hamburger Eyes\u003c/em> has always embraced.\u003c/p>\n\u003cp>As usual, Potes (with co-curator Megan Merritt) has leaned into curious juxtapositions for \u003cem>The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/em>. In one corner, a photo of an aging man showing off his torso of stick and poke tattoos sits underneath the image of posed, suburban family portraits discarded inside a dumpster. A cluster of microphone-wielding journalists sits directly above curious hands touching a giant yellow python. Near a shot of an old man sitting quietly in a laundromat is a photograph of a young man stuck halfway through a hole in a chainlink fence, while his skateboard waits patiently for him on the other side. It is a dizzying, consistently absorbing display.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Accompanying the anniversary celebration is a new book too. \u003cem>Hamburger Eyes — The First 25 Years\u003c/em> features 200 photographers, including the likes of \u003ca href=\"https://www.kqed.org/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer\">Dave Schubert\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13967132/tobin-yelland-skateboard-photography-san-francisco-deluxe-mission-dlx\">Tobin Yelland\u003c/a>, \u003ca href=\"https://www.instagram.com/tholden415/\">Troy Holden\u003c/a>, \u003ca href=\"https://www.instagram.com/teenwitchsf/\">Andrea Sonnenberg\u003c/a> and \u003cem>Mother Jones\u003c/em> photo director \u003ca href=\"https://www.markmurrmann.com/\">Mark Murrmann\u003c/a>. The work of Murrmann and Potes also features heavily in a free zine available only at the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13988971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg\" alt=\"A white man with receding hairline examines a wall covered with black and white photo magnets, arranged on a white door. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A display of magnetic photographs allows visitors to create their own sequences during the ‘Hamburger Eyes: The First 25 Years’ exhibition at the Jewett Gallery at the San Francisco Public Library. \u003ccite>(Gustavo Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The importance of Potes’ indefatigable work highlighting photo talent cannot be overstated. His commitment to DIY forms of visual expression is not limited to his own output either. At the KQED-sponsored \u003ca href=\"https://www.kqed.org/event/6104\">Night of Ideas\u003c/a> earlier this month, Potes helmed a Hamburger Eyes panel that was followed by a zine-making workshop by Fish Juice’s Edie Trautwein, to encourage young creators to get involved. There is also a section at the library exhibit that offers visitors the chance to arrange a set of Potes’ magnetized photos into their own zine display.\u003c/p>\n\u003cp>For many of us who were first thrilled by the work in \u003cem>Hamburger Eyes\u003c/em> decades ago, our dirtbag days are firmly in the rearview. The fact that \u003cem>Hamburger Eyes\u003c/em> continues to survive and thrive on its own terms is truly an event to be celebrated.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfpl.org/exhibits/2026/04/23/continuing-story-life-earth-25-years-hamburger-eyes\">The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery through Sept. 24, 2026. The accompanying book ‘\u003ca href=\"https://hamburgereyes.com/2026/03/25/hamburger-eyes-the-first-25-years/\">Hamburger Eyes — The First 25 Years\u003c/a>’ is out now. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "la-dona-corrientes-album-san-francisco",
"title": "La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’",
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"content": "\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\u003c/p>\n\u003cp>https://youtu.be/93ZK9i1wh5k?si=CcW-XD74gTUCrXqu\u003c/p>\n\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\u003c/p>\n\u003cp>https://youtu.be/3F5Jncvig3Y?si=AVUoLZOivTchyz0V\u003c/p>\n\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\u003c/p>\n\u003cp>https://youtu.be/fokeuzQS4Ac?si=dQD1kudLICbeW7FV\u003c/p>\n\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\u003c/p>\n\u003cp>https://youtu.be/y2a-_w4xRPU?si=1Y99SXRdE_WyMCZU\u003c/p>\n\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need you to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>La Doña performs at her \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">album release party at the UC Theatre\u003c/a> in Berkeley on May 15, followed by another concert on \u003ca href=\"https://www.harlows.com/event/buscabulla-x-la-do%c3%b1a/harlows/sacramento-california/\">May 17 at Harlow’s in Sacramento\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/93ZK9i1wh5k'\n title='//www.youtube.com/embed/93ZK9i1wh5k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3F5Jncvig3Y'\n title='//www.youtube.com/embed/3F5Jncvig3Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fokeuzQS4Ac'\n title='//www.youtube.com/embed/fokeuzQS4Ac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/y2a-_w4xRPU'\n title='//www.youtube.com/embed/y2a-_w4xRPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need you to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\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>La Doña performs at her \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">album release party at the UC Theatre\u003c/a> in Berkeley on May 15, followed by another concert on \u003ca href=\"https://www.harlows.com/event/buscabulla-x-la-do%c3%b1a/harlows/sacramento-california/\">May 17 at Harlow’s in Sacramento\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "celebrating-oaklands-betti-ono-gallery-a-decade-long-cultural-anchor",
"title": "Celebrating Oakland’s Betti Ono Gallery, a Decade-Long Cultural Anchor",
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"headTitle": "Celebrating Oakland’s Betti Ono Gallery, a Decade-Long Cultural Anchor | KQED",
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"content": "\u003cp>From 2011 until 2021, the Betti Ono art gallery served as a community anchor in the heart of downtown Oakland. As a cultural incubator, it benefited a number of local and national creatives — myself included.\u003c/p>\n\u003cp>Inside the expansive windows of 1427 Broadway, the concept of the traditional white box gallery was flipped on its head.\u003c/p>\n\u003cp>Betti Ono showcased visual artists and musicians. It hosted joyous baby showers and somber vigils. It held lit parties and sultry poetry nights. It gave space to conversations about housing rights, and provided a home for multimedia pieces addressing the biggest social issues of the time.\u003c/p>\n\u003cp>When KQED launched \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">the \u003cem>Rightnowish\u003c/em> podcast\u003c/a>, it was the perfect venue for our first live event. The gallery, much like the podcast, was all about prioritizing art and community connections.\u003c/p>\n\u003cp>For a decade, some of the Bay Area’s most talented people frequented Betti Ono. In many ways, the people \u003cem>were\u003c/em> the art. Now, a documentary puts the significance of the gallery in its proper context.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?app=desktop&v=HC-asXWJ1vg&si=V1s6Qt3KoQRwCbXs\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=HC-asXWJ1vg&si=V1s6Qt3KoQRwCbXs\">\u003cem>Art and Everyday People: The Story of the Betti Ono Foundation\u003c/em>\u003c/a> charts the birth of Betti Ono, its impact and what’s next for the organization now, 15 years after its founding.\u003c/p>\n\u003cp>The short documentary film, directed by former KQED reporter \u003ca href=\"https://www.arianaproehl.com/\">Ariana Proehl\u003c/a>, shows “all the beautiful people” who frequented the space. Proehl predicts that \u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">the film’s free premiere this Wednesday at the New Parkway in Oakland\u003c/a> will be a much-needed reconvening of that community.\u003c/p>\n\u003cp>“It’s going to be a really great reunion for Betti Ono,” Proehl tells me during a video call, adding that right now, “we need some reminders of our power.”\u003c/p>\n\u003cp>One example of the film’s power is found in its photo montages, poetically presented over a score by Oakland-based musician and educator \u003ca href=\"https://chanelleignant.com/\">Chanelle Ignant\u003c/a>, also formerly of KQED.\u003c/p>\n\u003cp>[aside postID='arts_13810477']Each clip reveals a who’s-who of renowned artists, often smiling or sharing an embrace. Those include photographer \u003ca href=\"https://www.kqed.org/arts/13973477/photographer-brittsense-oakland-roots-coliseum\">Britt Sense\u003c/a>, singer \u003ca href=\"https://www.kqed.org/education/8355/8355\">Aisha Fukushima\u003c/a> and rapper \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">Ovrkast.\u003c/a>, multitalented radio host \u003ca href=\"https://www.kqed.org/arts/13878784/how-theater-prepared-this-artist-for-the-funeral-home\">Paris Warr\u003c/a>, augmented reality artist \u003ca href=\"https://www.kqed.org/arts/13958122/black-terminus-ar-says-new-tech-is-for-the-people\">Damien McDuffie\u003c/a>, cultural icon \u003ca href=\"https://www.kqed.org/arts/13986932/emory-douglas-black-panthers-interview-aaacc-san-francisco\">Emory Douglas\u003c/a>, visual artists \u003ca href=\"https://www.kqed.org/arts/13909758/rightnowish-biglove-karen-and-malik-seneferu\">Karen and Malik Seneferu\u003c/a> and more.\u003c/p>\n\u003cp>The “\u003ca href=\"https://stoptellingwomentosmile.com/\">Stop Telling Women to Smile\u003c/a>” social campaign by \u003ca href=\"https://tlynnfaz.com/\">Tatyana Fazlalizadeh\u003c/a>, a visual artist who had a residency at Betti Ono, exemplifies the international reach of the gallery’s diaspora.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.notonemoregirl.com/\">#NotOneMoreGirl\u003c/a> initiative, a push to end gender-based violence on public transit and a response to the killing of \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\">Nia Wilson\u003c/a>, underscores the gallery’s work locally.\u003c/p>\n\u003cp>And Betti Ono’s \u003ca href=\"https://www.bettiono.com/our-work-main/the-arts-and-civic-engagement-ace-youth-fellows\">Arts and Civic Engagement fellowship\u003c/a> (ACE), a space for youth to advance solutions to community issues, highlights the organization’s investment in the next generation.\u003c/p>\n\u003cfigure id=\"attachment_13988898\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard.png\" alt=\"An African American woman in a hat sitting while being interviewed. \" width=\"2000\" height=\"1121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-1536x861.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anyka Howard, founder of Betti Ono, discussing the gallery’s history and future. \u003ccite>(Ariana Proehl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film features conversations with muralist and printmaker \u003ca href=\"https://www.jessicasabogal.com\" target=\"_blank\" rel=\"noopener\">Jessica Sabogal\u003c/a> and photographer \u003ca href=\"http://www.kierrajohnson.com/\">Kierra Jenaé Johnson\u003c/a>, both of whom explain how the space incubated them as young artists and pushed them further in their careers.\u003c/p>\n\u003cp>Providing a larger context of Oakland in the 2010s are interviews with artist and curator \u003ca href=\"https://www.sh8peshiftyourlife.com/\">Zakiya Harris\u003c/a>, lyricist and educator \u003ca href=\"https://www.emceedodat.com/\">Davin “Do D.A.T.” Thompson\u003c/a> and journalist and author \u003ca href=\"https://www.kqed.org/author/earnold\">Eric K. Arnold\u003c/a>.\u003c/p>\n\u003cp>The three note that before Betti Ono, a rapidly changing downtown Oakland offered far too little space to the Black community largely responsible for the Town’s cultural currency. In the midst of those changes, Betti Ono founder \u003ca href=\"https://www.bettiono.com/team-anyka-howard\">Anyka Howard\u003c/a> returned to the Bay Area from Atlanta, bringing with her an appetite for community gatherings and artistic events.\u003c/p>\n\u003cp>Howard traces Betti Ono’s roots to 2010, when she started a weekly event called Smashbox Live, a “live arts experience that brings creative people together to network, collaborate, exchange ideas and also promote their practice.”\u003c/p>\n\u003cp>The idea took off, but the she was forced to change the name after receiving a cease-and-desist letter. She settled on a name inspired by funk singer and songwriter \u003ca href=\"https://www.npr.org/2022/02/13/1080151853/game-was-her-middle-name-the-world-was-never-ready-for-betty-davis\">Betty Davis\u003c/a> and multitalented artist and activist \u003ca href=\"https://www.tate.org.uk/art/artists/yoko-ono-1719\">Yoko Ono\u003c/a>. The two women, Howard says in the film, represented “this notion of smashing the box and challenging the status quo.”\u003c/p>\n\u003cfigure id=\"attachment_13988899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012.jpg\" alt=\"Eight people gather to take a photo inside of an art gallery. \" width=\"2000\" height=\"1329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-1536x1021.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Artists gather for a photo during a 2012 exhibition titled ‘What is Buried Is Not Lost’ at Betti Ono gallery in downtown Oakland. \u003ccite>(Courtesy of Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Howard opens up about her community work, and how it stems from generations of Black women committed to and caring for their people. As a child, Howard would accompany her great-grandmother as she visited the sick and infirm. She also watched her grandmother as she ran Richmond’s youth employment program, ensuring young people had summertime work.\u003c/p>\n\u003cp>“They weren’t waving flags,” Howard says in the film, discussing her family’s matriarchs. “They were just living in their truth.”\u003c/p>\n\u003cp>Through Betti Ono, Howard co-founded the \u003ca href=\"https://www.blacspace.coop/\">BlacSPACECooperative\u003c/a> and \u003ca href=\"https://eastbayexpress.com/oaklands-new-creative-neighborhoods-coalition-announces-first-meeting-2-1/\">the Oakland Creative Neighborhoods Coalition\u003c/a>. She pushed for cultural preservation, challenged city policy regarding arts funding and navigated instances of police scrutinizing large gatherings of people of color.\u003c/p>\n\u003cfigure id=\"attachment_13988900\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988900\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp.jpg\" alt=\"A large gathering of African American women artists pose for a photo inside of a gallery.\" width=\"2000\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-1536x982.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Betti Ono held over 60 exhibitions and public programs over the course of its 10-year run. \u003ccite>(Jon Crisp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery stood out amongst the changing face of Oakland by providing a space for creative communities to thrive, its backbone was that it was simply serving the people through art.\u003c/p>\n\u003cp>“That’s totally in line with what the Black Panthers were doing, what the Black Arts Movement was all about,” says Eric Arnold in the film. “This whole legacy of cultural arts in Oakland that goes back to the ’60s and ’70s, and really created a global movement that hasn’t stopped yet.”\u003c/p>\n\u003cp>In making the film, Proehl looked closely at how Betti Ono served the people, herself included.\u003c/p>\n\u003cp>A first-time filmmaker with a background in journalism and poetry, Proehl had wanted to make a film since the early 2000s, when she was enrolled as an ethnic studies student at UC Berkeley. She started off volunteering at the Women of Color Film Festival, an annual event at Berkeley’s Pacific Film Archive. “I ended up becoming a co-director and co-curator,” says Proehl. “At that point in time, I was like, ‘Oh, I really wanna make a documentary.’”\u003c/p>\n\u003cp>But desire and a camcorder weren’t enough. “I didn’t have the confidence, or the know-how,” reflects Proehl. When Howard and the Betti Ono team reached out for help telling the story of the organization ahead of its 15th anniversary, Proehl took it as a sign.\u003c/p>\n\u003cp>“It all culminates,” she says of her past work experience, informing this next step in her career. “I feel like I’m in my lane now, it feels really good.”\u003c/p>\n\u003cp>Her first move in that lane: telling the intimate story of one of the most significant spaces for artists in Oakland in the 15 years.\u003c/p>\n\u003cp>“Getting to see a woman’s — a Black woman’s vision,” says Proehl, describing Howard’s trajectory from simply wanting to “have an art night” to opening her own gallery and holding space for so many community members, “that’s just a beautiful thing.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">Art & Everyday People: The Story of the Betti Ono Foundation\u003c/a>‘ premieres on Wednesday, April 29, at 7 p.m. at the New Parkway Theater (474 24th St., Oakland). The screening will be followed by a Q&A with Anyka Howard and Ariana Proehl, hosted by Jada Imani.\u003c/em>\u003c/p>\n\u003cp>\u003cem>There will also be a post-screening reception at Night Heron, 1780 Telegraph Ave in Uptown Oakland. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more information \u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">check here.\u003c/a> \u003c/em>\u003c/p>\n\n",
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"excerpt": "The former downtown community hub is the subject of a new documentary short, ‘Art and Everyday People.’",
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"title": "New Film About Oakland's Betti Ono Gallery to Premiere | KQED",
"description": "The former downtown community hub is the subject of a new documentary short, ‘Art and Everyday People.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From 2011 until 2021, the Betti Ono art gallery served as a community anchor in the heart of downtown Oakland. As a cultural incubator, it benefited a number of local and national creatives — myself included.\u003c/p>\n\u003cp>Inside the expansive windows of 1427 Broadway, the concept of the traditional white box gallery was flipped on its head.\u003c/p>\n\u003cp>Betti Ono showcased visual artists and musicians. It hosted joyous baby showers and somber vigils. It held lit parties and sultry poetry nights. It gave space to conversations about housing rights, and provided a home for multimedia pieces addressing the biggest social issues of the time.\u003c/p>\n\u003cp>When KQED launched \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">the \u003cem>Rightnowish\u003c/em> podcast\u003c/a>, it was the perfect venue for our first live event. The gallery, much like the podcast, was all about prioritizing art and community connections.\u003c/p>\n\u003cp>For a decade, some of the Bay Area’s most talented people frequented Betti Ono. In many ways, the people \u003cem>were\u003c/em> the art. Now, a documentary puts the significance of the gallery in its proper context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HC-asXWJ1vg'\n title='//www.youtube.com/embed/HC-asXWJ1vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=HC-asXWJ1vg&si=V1s6Qt3KoQRwCbXs\">\u003cem>Art and Everyday People: The Story of the Betti Ono Foundation\u003c/em>\u003c/a> charts the birth of Betti Ono, its impact and what’s next for the organization now, 15 years after its founding.\u003c/p>\n\u003cp>The short documentary film, directed by former KQED reporter \u003ca href=\"https://www.arianaproehl.com/\">Ariana Proehl\u003c/a>, shows “all the beautiful people” who frequented the space. Proehl predicts that \u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">the film’s free premiere this Wednesday at the New Parkway in Oakland\u003c/a> will be a much-needed reconvening of that community.\u003c/p>\n\u003cp>“It’s going to be a really great reunion for Betti Ono,” Proehl tells me during a video call, adding that right now, “we need some reminders of our power.”\u003c/p>\n\u003cp>One example of the film’s power is found in its photo montages, poetically presented over a score by Oakland-based musician and educator \u003ca href=\"https://chanelleignant.com/\">Chanelle Ignant\u003c/a>, also formerly of KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Each clip reveals a who’s-who of renowned artists, often smiling or sharing an embrace. Those include photographer \u003ca href=\"https://www.kqed.org/arts/13973477/photographer-brittsense-oakland-roots-coliseum\">Britt Sense\u003c/a>, singer \u003ca href=\"https://www.kqed.org/education/8355/8355\">Aisha Fukushima\u003c/a> and rapper \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">Ovrkast.\u003c/a>, multitalented radio host \u003ca href=\"https://www.kqed.org/arts/13878784/how-theater-prepared-this-artist-for-the-funeral-home\">Paris Warr\u003c/a>, augmented reality artist \u003ca href=\"https://www.kqed.org/arts/13958122/black-terminus-ar-says-new-tech-is-for-the-people\">Damien McDuffie\u003c/a>, cultural icon \u003ca href=\"https://www.kqed.org/arts/13986932/emory-douglas-black-panthers-interview-aaacc-san-francisco\">Emory Douglas\u003c/a>, visual artists \u003ca href=\"https://www.kqed.org/arts/13909758/rightnowish-biglove-karen-and-malik-seneferu\">Karen and Malik Seneferu\u003c/a> and more.\u003c/p>\n\u003cp>The “\u003ca href=\"https://stoptellingwomentosmile.com/\">Stop Telling Women to Smile\u003c/a>” social campaign by \u003ca href=\"https://tlynnfaz.com/\">Tatyana Fazlalizadeh\u003c/a>, a visual artist who had a residency at Betti Ono, exemplifies the international reach of the gallery’s diaspora.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.notonemoregirl.com/\">#NotOneMoreGirl\u003c/a> initiative, a push to end gender-based violence on public transit and a response to the killing of \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\">Nia Wilson\u003c/a>, underscores the gallery’s work locally.\u003c/p>\n\u003cp>And Betti Ono’s \u003ca href=\"https://www.bettiono.com/our-work-main/the-arts-and-civic-engagement-ace-youth-fellows\">Arts and Civic Engagement fellowship\u003c/a> (ACE), a space for youth to advance solutions to community issues, highlights the organization’s investment in the next generation.\u003c/p>\n\u003cfigure id=\"attachment_13988898\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard.png\" alt=\"An African American woman in a hat sitting while being interviewed. \" width=\"2000\" height=\"1121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-1536x861.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anyka Howard, founder of Betti Ono, discussing the gallery’s history and future. \u003ccite>(Ariana Proehl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film features conversations with muralist and printmaker \u003ca href=\"https://www.jessicasabogal.com\" target=\"_blank\" rel=\"noopener\">Jessica Sabogal\u003c/a> and photographer \u003ca href=\"http://www.kierrajohnson.com/\">Kierra Jenaé Johnson\u003c/a>, both of whom explain how the space incubated them as young artists and pushed them further in their careers.\u003c/p>\n\u003cp>Providing a larger context of Oakland in the 2010s are interviews with artist and curator \u003ca href=\"https://www.sh8peshiftyourlife.com/\">Zakiya Harris\u003c/a>, lyricist and educator \u003ca href=\"https://www.emceedodat.com/\">Davin “Do D.A.T.” Thompson\u003c/a> and journalist and author \u003ca href=\"https://www.kqed.org/author/earnold\">Eric K. Arnold\u003c/a>.\u003c/p>\n\u003cp>The three note that before Betti Ono, a rapidly changing downtown Oakland offered far too little space to the Black community largely responsible for the Town’s cultural currency. In the midst of those changes, Betti Ono founder \u003ca href=\"https://www.bettiono.com/team-anyka-howard\">Anyka Howard\u003c/a> returned to the Bay Area from Atlanta, bringing with her an appetite for community gatherings and artistic events.\u003c/p>\n\u003cp>Howard traces Betti Ono’s roots to 2010, when she started a weekly event called Smashbox Live, a “live arts experience that brings creative people together to network, collaborate, exchange ideas and also promote their practice.”\u003c/p>\n\u003cp>The idea took off, but the she was forced to change the name after receiving a cease-and-desist letter. She settled on a name inspired by funk singer and songwriter \u003ca href=\"https://www.npr.org/2022/02/13/1080151853/game-was-her-middle-name-the-world-was-never-ready-for-betty-davis\">Betty Davis\u003c/a> and multitalented artist and activist \u003ca href=\"https://www.tate.org.uk/art/artists/yoko-ono-1719\">Yoko Ono\u003c/a>. The two women, Howard says in the film, represented “this notion of smashing the box and challenging the status quo.”\u003c/p>\n\u003cfigure id=\"attachment_13988899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012.jpg\" alt=\"Eight people gather to take a photo inside of an art gallery. \" width=\"2000\" height=\"1329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-1536x1021.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Artists gather for a photo during a 2012 exhibition titled ‘What is Buried Is Not Lost’ at Betti Ono gallery in downtown Oakland. \u003ccite>(Courtesy of Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Howard opens up about her community work, and how it stems from generations of Black women committed to and caring for their people. As a child, Howard would accompany her great-grandmother as she visited the sick and infirm. She also watched her grandmother as she ran Richmond’s youth employment program, ensuring young people had summertime work.\u003c/p>\n\u003cp>“They weren’t waving flags,” Howard says in the film, discussing her family’s matriarchs. “They were just living in their truth.”\u003c/p>\n\u003cp>Through Betti Ono, Howard co-founded the \u003ca href=\"https://www.blacspace.coop/\">BlacSPACECooperative\u003c/a> and \u003ca href=\"https://eastbayexpress.com/oaklands-new-creative-neighborhoods-coalition-announces-first-meeting-2-1/\">the Oakland Creative Neighborhoods Coalition\u003c/a>. She pushed for cultural preservation, challenged city policy regarding arts funding and navigated instances of police scrutinizing large gatherings of people of color.\u003c/p>\n\u003cfigure id=\"attachment_13988900\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988900\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp.jpg\" alt=\"A large gathering of African American women artists pose for a photo inside of a gallery.\" width=\"2000\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-1536x982.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Betti Ono held over 60 exhibitions and public programs over the course of its 10-year run. \u003ccite>(Jon Crisp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery stood out amongst the changing face of Oakland by providing a space for creative communities to thrive, its backbone was that it was simply serving the people through art.\u003c/p>\n\u003cp>“That’s totally in line with what the Black Panthers were doing, what the Black Arts Movement was all about,” says Eric Arnold in the film. “This whole legacy of cultural arts in Oakland that goes back to the ’60s and ’70s, and really created a global movement that hasn’t stopped yet.”\u003c/p>\n\u003cp>In making the film, Proehl looked closely at how Betti Ono served the people, herself included.\u003c/p>\n\u003cp>A first-time filmmaker with a background in journalism and poetry, Proehl had wanted to make a film since the early 2000s, when she was enrolled as an ethnic studies student at UC Berkeley. She started off volunteering at the Women of Color Film Festival, an annual event at Berkeley’s Pacific Film Archive. “I ended up becoming a co-director and co-curator,” says Proehl. “At that point in time, I was like, ‘Oh, I really wanna make a documentary.’”\u003c/p>\n\u003cp>But desire and a camcorder weren’t enough. “I didn’t have the confidence, or the know-how,” reflects Proehl. When Howard and the Betti Ono team reached out for help telling the story of the organization ahead of its 15th anniversary, Proehl took it as a sign.\u003c/p>\n\u003cp>“It all culminates,” she says of her past work experience, informing this next step in her career. “I feel like I’m in my lane now, it feels really good.”\u003c/p>\n\u003cp>Her first move in that lane: telling the intimate story of one of the most significant spaces for artists in Oakland in the 15 years.\u003c/p>\n\u003cp>“Getting to see a woman’s — a Black woman’s vision,” says Proehl, describing Howard’s trajectory from simply wanting to “have an art night” to opening her own gallery and holding space for so many community members, “that’s just a beautiful thing.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">Art & Everyday People: The Story of the Betti Ono Foundation\u003c/a>‘ premieres on Wednesday, April 29, at 7 p.m. at the New Parkway Theater (474 24th St., Oakland). The screening will be followed by a Q&A with Anyka Howard and Ariana Proehl, hosted by Jada Imani.\u003c/em>\u003c/p>\n\u003cp>\u003cem>There will also be a post-screening reception at Night Heron, 1780 Telegraph Ave in Uptown Oakland. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information \u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">check here.\u003c/a> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "vikingur-olafsson-interview-bach-beethoven-schubert-iceland-piano",
"title": "Víkingur Ólafsson Talks Bach, Nature and the Bay Area",
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"content": "\u003cp>The Icelandic pianist Víkingur Ólafsson is one of the world’s most engrossing live performers of \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical piano music\u003c/a> right now. Dazzling yet nuanced, he visited the Bay Area twice last year: to \u003ca href=\"https://www.kqed.org/arts/13970454/john-adams-piano-concerto-vikingur-olafsson-san-francisco-symphony-review\">premiere an exciting new John Adams concerto\u003c/a> and to pull off \u003ca href=\"https://www.kqed.org/arts/13972538/review-vikingur-olafsson-goldberg-variations-davies-yuja-wang-canceled\">Bach’s Goldberg Variations from memory in a last-minute program switcheroo\u003c/a>.\u003c/p>\n\u003cp>The Goldberg Variations, in particular, rewired Ólafsson’s consciousness after performing them for more than a year in concert halls around the world: “Slowly, the work takes over your perception of reality, forcing you to notice how, really, everything can be viewed as a set of variations,” he says. “Places, events, people. Trees, leaves, houses, streets. Thoughts and ideas. Cells and DNA.”\u003c/p>\n\u003cp>Now, on a recent album on Deutsche Grammophon and \u003ca href=\"https://calperformances.org/events/2025-26/recital/vikingur-olafsson-piano-opus-109/\">in a concert this week presented by Cal Performances at Berkeley’s Zellerbach Hall\u003c/a>, the widely lauded 42-year-old pianist directs his attention to Beethoven’s Piano Sonata No. 30, adding context of Bach and Schubert to show the threads of imagination among three composers.\u003c/p>\n\u003cp>Ólafsson spoke with KQED about the Bay Area, his process and his home country of Iceland.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988880\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans.jpg\" alt=\"\" width=\"1637\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-768x938.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-1257x1536.jpg 1257w\" sizes=\"auto, (max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Víkingur Ólafsson. \u003ccite>(Markus Jans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: You keep coming back to the Bay Area. What are your general impressions of the region?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Víkingur Ólafsson\u003c/strong>: I love it so much. I could live there if it wasn’t so far away from home. It’s a perfect place. It has some of the most interesting people. And of course, it has one of the people who is dearest to me in the whole music world, \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>. When I come to the Bay Area, I’m looking forward to it every time. I know I’ll have good conversations, excellent food and, hopefully, good performances.\u003c/p>\n\u003cp>I like Japantown — I very much like the restaurants there, and the vibe. The time before last when I was there, I went hiking, and it was just so wonderful. The coffee in the Bay Area is so excellent that you can almost go into any coffee shop, and this is unusual for the United States, but you can really get fabulous coffee everywhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>You premiered John Adams’ newest concerto here. What is it like working with John Adams?\u003c/strong>\u003c/p>\n\u003cp>He’s the kind of composer that reinvents himself in every piece. You never know what you’re gonna get, except that it’s gonna be beautiful and fantastic, because he’s such an incredible creator in that sense. I was so excited by that, him writing a piece for me — the honor of my musical life, really. I have such high regard for this man on all levels. As a composer, but also just a musical thinker in general. It’s fantastic to talk with him about Debussy, or Bach or Beethoven.\u003c/p>\n\u003cp>[aside postID='arts_13970454']It helps that I have a very good relationship with him and consider him a dear friend, and an ally. We’ve known each other now for five years and spent time together in different parts of the world. And so it feels very personal, him writing me a concerto, and of course in the manner he did: a three-movement work, but in one connected structure, with that incredible Bach fantasia taking over the third movement. It’s such a stroke of genius, but it also felt very much like he was sort of tailor-making it for me. He created a world for me to inhabit very freely.\u003c/p>\n\u003cp>\u003cstrong>You have a new album, \u003cem>Opus 109\u003c/em>, which you’ll play in Berkeley. It seems very inspired by your time touring with the Goldberg Variations.\u003c/strong>\u003c/p>\n\u003cp>Once you spend a year with the Goldberg Variations, you start to see traces of it in so much of music that came after Bach. And nowhere, I believe, more than in the late works of Ludwig van Beethoven, when he comes back from that five-year silence and goes into what we now have come to call his third period. Beethoven’s revolution with the third period, this music of the future — I realized it was very much fueled by Bach.\u003c/p>\n\u003cp>Beethoven’s last three sonatas, Opus 109, 110, 111, these three sisters, they’re always played together. And I was actually gonna try to do that, to be a good boy for once, and do something like everybody does it. But I failed with that. I just didn’t like it. Opus 109 is such a perfect sonata, it really deserves to be the center of the program. I looked around and I saw very strong connections, especially with the second movement of Beethoven’s E minor sonata, Opus 90, written six years before the Opus 109.\u003c/p>\n\u003cp>https://youtu.be/DJs9AYlvSiM?si=RRNOtVBB8GrvMgKq\u003c/p>\n\u003cp>Then in the middle of those two sonatas, young Schubert, living in the same city as Beethoven, writes this E minor sonata that’s basically forgotten today. And it’s an absolute masterpiece of work. Later-time musicologists added a terrible scherzo, in A-flat major, found in the same sketchbook, but it’s just a rough draft. And then someone else found another E major movement, a rondo, which also is quite terrible, which was written two years before the other parts of that sonata. They put that as a fourth movement. I just looked at it and was like, “Well, the sonata is already complete in two movements.”\u003c/p>\n\u003cp>I also decided to put a little Bach into the mix. And I wasn’t sure if I could do it, but I wanted to test if I could actually do an entire album in E — just in one tonality, E major, E minor — and get away with it. And at least for me personally, I think you don’t really get tired of that tonality. I haven’t heard anyone complain yet.\u003c/p>\n\u003cp>[aside postID='arts_13972538']\u003cstrong>You said in your post-concert comments, last time you were here, that “One should never apologize for Johann Sebastian Bach.” Do you find yourself having to defend Bach against people who say that Bach is too mathematical, or architectural?\u003c/strong>\u003c/p>\n\u003cp>I mean, that’s like someone telling me that nature isn’t beautiful. I don’t have anything to say to them. I feel bad for them if they see no beauty, if they hear no beauty. There’s nothing to be said.\u003c/p>\n\u003cp>\u003cstrong>Is there anything about growing up in Iceland that has influenced your playing or your studies?\u003c/strong>\u003c/p>\n\u003cp>You could say the instability of Iceland, in every sense. The fact that it’s very much still being born as an island, with all the earthquakes, with all of the volcanoes, with the glaciers, with that fact that the nature there and the weather changes constantly. It’s an incredibly dynamic country.\u003c/p>\n\u003cfigure id=\"attachment_13988881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Víkingur Ólafsson. \u003ccite>(Markus Jans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the fact that I come from a country where I had a much longer path than I might have had if I came from a different culture with more connections to the music industry. I became world-famous inside Iceland, and was completely unknown outside of Iceland. I was filling the house every night as a 21-year-old, but no one had heard of me! That gave me a lot of creative time in my youth and my formative years to experiment more than if I’d had an international career pushed upon me when I was 22 or 24.\u003c/p>\n\u003cp>There are so many other factors that are more subconscious than that. But I think the slowness of my path, although I wasn’t grateful for it at the time, helped me in that sense.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Víkingur Olafsson performs selections for solo piano by Beethoven, Bach and Schubert on Wednesday, April 29, presented by Cal Performances at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2025-26/recital/vikingur-olafsson-piano-opus-109/\">More information and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Icelandic pianist Víkingur Ólafsson is one of the world’s most engrossing live performers of \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical piano music\u003c/a> right now. Dazzling yet nuanced, he visited the Bay Area twice last year: to \u003ca href=\"https://www.kqed.org/arts/13970454/john-adams-piano-concerto-vikingur-olafsson-san-francisco-symphony-review\">premiere an exciting new John Adams concerto\u003c/a> and to pull off \u003ca href=\"https://www.kqed.org/arts/13972538/review-vikingur-olafsson-goldberg-variations-davies-yuja-wang-canceled\">Bach’s Goldberg Variations from memory in a last-minute program switcheroo\u003c/a>.\u003c/p>\n\u003cp>The Goldberg Variations, in particular, rewired Ólafsson’s consciousness after performing them for more than a year in concert halls around the world: “Slowly, the work takes over your perception of reality, forcing you to notice how, really, everything can be viewed as a set of variations,” he says. “Places, events, people. Trees, leaves, houses, streets. Thoughts and ideas. Cells and DNA.”\u003c/p>\n\u003cp>Now, on a recent album on Deutsche Grammophon and \u003ca href=\"https://calperformances.org/events/2025-26/recital/vikingur-olafsson-piano-opus-109/\">in a concert this week presented by Cal Performances at Berkeley’s Zellerbach Hall\u003c/a>, the widely lauded 42-year-old pianist directs his attention to Beethoven’s Piano Sonata No. 30, adding context of Bach and Schubert to show the threads of imagination among three composers.\u003c/p>\n\u003cp>Ólafsson spoke with KQED about the Bay Area, his process and his home country of Iceland.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988880\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans.jpg\" alt=\"\" width=\"1637\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-768x938.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-1257x1536.jpg 1257w\" sizes=\"auto, (max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Víkingur Ólafsson. \u003ccite>(Markus Jans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: You keep coming back to the Bay Area. What are your general impressions of the region?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Víkingur Ólafsson\u003c/strong>: I love it so much. I could live there if it wasn’t so far away from home. It’s a perfect place. It has some of the most interesting people. And of course, it has one of the people who is dearest to me in the whole music world, \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>. When I come to the Bay Area, I’m looking forward to it every time. I know I’ll have good conversations, excellent food and, hopefully, good performances.\u003c/p>\n\u003cp>I like Japantown — I very much like the restaurants there, and the vibe. The time before last when I was there, I went hiking, and it was just so wonderful. The coffee in the Bay Area is so excellent that you can almost go into any coffee shop, and this is unusual for the United States, but you can really get fabulous coffee everywhere.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>You premiered John Adams’ newest concerto here. What is it like working with John Adams?\u003c/strong>\u003c/p>\n\u003cp>He’s the kind of composer that reinvents himself in every piece. You never know what you’re gonna get, except that it’s gonna be beautiful and fantastic, because he’s such an incredible creator in that sense. I was so excited by that, him writing a piece for me — the honor of my musical life, really. I have such high regard for this man on all levels. As a composer, but also just a musical thinker in general. It’s fantastic to talk with him about Debussy, or Bach or Beethoven.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It helps that I have a very good relationship with him and consider him a dear friend, and an ally. We’ve known each other now for five years and spent time together in different parts of the world. And so it feels very personal, him writing me a concerto, and of course in the manner he did: a three-movement work, but in one connected structure, with that incredible Bach fantasia taking over the third movement. It’s such a stroke of genius, but it also felt very much like he was sort of tailor-making it for me. He created a world for me to inhabit very freely.\u003c/p>\n\u003cp>\u003cstrong>You have a new album, \u003cem>Opus 109\u003c/em>, which you’ll play in Berkeley. It seems very inspired by your time touring with the Goldberg Variations.\u003c/strong>\u003c/p>\n\u003cp>Once you spend a year with the Goldberg Variations, you start to see traces of it in so much of music that came after Bach. And nowhere, I believe, more than in the late works of Ludwig van Beethoven, when he comes back from that five-year silence and goes into what we now have come to call his third period. Beethoven’s revolution with the third period, this music of the future — I realized it was very much fueled by Bach.\u003c/p>\n\u003cp>Beethoven’s last three sonatas, Opus 109, 110, 111, these three sisters, they’re always played together. And I was actually gonna try to do that, to be a good boy for once, and do something like everybody does it. But I failed with that. I just didn’t like it. Opus 109 is such a perfect sonata, it really deserves to be the center of the program. I looked around and I saw very strong connections, especially with the second movement of Beethoven’s E minor sonata, Opus 90, written six years before the Opus 109.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DJs9AYlvSiM'\n title='//www.youtube.com/embed/DJs9AYlvSiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then in the middle of those two sonatas, young Schubert, living in the same city as Beethoven, writes this E minor sonata that’s basically forgotten today. And it’s an absolute masterpiece of work. Later-time musicologists added a terrible scherzo, in A-flat major, found in the same sketchbook, but it’s just a rough draft. And then someone else found another E major movement, a rondo, which also is quite terrible, which was written two years before the other parts of that sonata. They put that as a fourth movement. I just looked at it and was like, “Well, the sonata is already complete in two movements.”\u003c/p>\n\u003cp>I also decided to put a little Bach into the mix. And I wasn’t sure if I could do it, but I wanted to test if I could actually do an entire album in E — just in one tonality, E major, E minor — and get away with it. And at least for me personally, I think you don’t really get tired of that tonality. I haven’t heard anyone complain yet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>You said in your post-concert comments, last time you were here, that “One should never apologize for Johann Sebastian Bach.” Do you find yourself having to defend Bach against people who say that Bach is too mathematical, or architectural?\u003c/strong>\u003c/p>\n\u003cp>I mean, that’s like someone telling me that nature isn’t beautiful. I don’t have anything to say to them. I feel bad for them if they see no beauty, if they hear no beauty. There’s nothing to be said.\u003c/p>\n\u003cp>\u003cstrong>Is there anything about growing up in Iceland that has influenced your playing or your studies?\u003c/strong>\u003c/p>\n\u003cp>You could say the instability of Iceland, in every sense. The fact that it’s very much still being born as an island, with all the earthquakes, with all of the volcanoes, with the glaciers, with that fact that the nature there and the weather changes constantly. It’s an incredibly dynamic country.\u003c/p>\n\u003cfigure id=\"attachment_13988881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Víkingur Ólafsson. \u003ccite>(Markus Jans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the fact that I come from a country where I had a much longer path than I might have had if I came from a different culture with more connections to the music industry. I became world-famous inside Iceland, and was completely unknown outside of Iceland. I was filling the house every night as a 21-year-old, but no one had heard of me! That gave me a lot of creative time in my youth and my formative years to experiment more than if I’d had an international career pushed upon me when I was 22 or 24.\u003c/p>\n\u003cp>There are so many other factors that are more subconscious than that. But I think the slowness of my path, although I wasn’t grateful for it at the time, helped me in that sense.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Víkingur Olafsson performs selections for solo piano by Beethoven, Bach and Schubert on Wednesday, April 29, presented by Cal Performances at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2025-26/recital/vikingur-olafsson-piano-opus-109/\">More information and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>During one of the most critical scenes in the play \u003cem>Hamnet\u003c/em>, a grieving mother, Agnes, watches in awe at the theater world of her husband, William Shakespeare. A world of costumes and nightly death, it also inspires reverence, and she comes to understand that her late son was the quintessence of glory. \u003c/p>\n\u003cp>To see Agnes absorb \u003cem>Hamlet\u003c/em>’s every word despite not understanding most of them is to witness simultaneous grief and healing. For eternity, she realizes, one of the world’s greatest plays will be connected to one of the universe’s most perfect 11-year-old boys.\u003c/p>\n\u003cp>Running through May 24 at San Francisco’s American Conservatory Theater, \u003cem>Hamnet\u003c/em> gives agency to Shakespeare’s mysterious and enigmatic wife, known as Anne or Agnes. This is not a historical account of a woman who simply sat by as a dutiful spouse, raising three children in Stratford-upon-Avon as Shakespeare gallivanted through London’s seedy and bustling Elizabethan theater district. Nor is it \u003cem>Shakespeare in Love\u003c/em>, the 1998 film which portrays Anne as a loveless hindrance to Shakespeare’s quill and immortality. \u003c/p>\n\u003cfigure id=\"attachment_13988826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg\" alt=\"A man in blue and a woman with a flower crown nuzzle up against one another\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rory Alexander and Kemi-Bo Jacobs as William and Agnes Shakespeare in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hamnet\u003c/em> is more on par with the jukebox musical \u003cem>& Juliet\u003c/em>, in which Anne directly questions the misogyny of Shakespeare’s storytelling. (A young teenage girl throwing her life away for a dithering and pathetic boy who changes his passions like he changes his underwear? What kind of hot garbage is that, Will?) \u003c/p>\n\u003cp>Onstage at ACT, the battles between Agnes (Kemi-Bo Jacobs) and William (Rory Alexander) are filled with pain, as Shakespeare knows he has no choice but to make the four-day trek to London and continue writing plays that may someday change the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lolita Chakrabarti’s adaptation from Maggie O’Farrell’s sweeping tale is a highly metaphoric jaunt through the thrill of new love — the mystery of this strange falcon girl who may have deep connections to witchcraft, and a base Latin tutor helping his father (Nigel Barrett) climb out of crippling debt.\u003c/p>\n\u003cfigure id=\"attachment_13988825\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"1320\" height=\"2000\" class=\"size-full wp-image-13988825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-768x1164.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-1014x1536.jpg 1014w\" sizes=\"auto, (max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Kemi-Bo Jacobs as Agnes (center), with Ajani Cabey as Hamnet and Saffron Dey as Judith in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Erica Whyman’s astute direction, long swatches of material become babies and pregnancies. This theatrical approach complements a grand and rustic scenic design by Tom Piper, who also designed the costumes. Simon Baker’s soundscape leans heavily into deep bass to augment whispers and wisdom that form much of the play’s mystery. \u003c/p>\n\u003cp>Chakrabarti’s reimagined script veers somewhat from O’Farrell’s flashback-heavy 2020 novel. Yet it’s respectful to the novel’s great intentions (the stunning clarity in the book to describe a first tryst among the apples is staged beautifully here). \u003c/p>\n\u003cp>While much about ACT’s production works, it is not perfect. The initial sounds of child whispers are hard, if not impossible, to understand. While plenty of the show meets the story’s emotional demands, other moments fall toward a thinner, more unsatisfying end. Hard honesty moves through space with too much rapidity for an audience yearning for authenticity. \u003c/p>\n\u003cfigure id=\"attachment_13988824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saffron Dey as Judith and Ajani Cabey as Hamnet in the Royal Shakespeare Company’s‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some fantastic setups preface the second act’s more damaging moments. Anyone with the slightest knowledge of Shakespeare knows that Hamnet’s demise is near; a gentle, well-paced staging doesn’t make that any easier to digest. But take note of how Jacobs conveys the hurt. As in the Ocscar-winning 2025 film of \u003cem>Hamnet\u003c/em>, Jacobs’ cries as Agnes are guttural, produced from a place that only exists for those who’ve bore and lost a child. \u003c/p>\n\u003cp>While William channels his agony into his opus, unbeknownst to those mourning back home, the stoic Agnes is the face of devastation, conveyed by Jacobs using every ounce of her emotions. \u003c/p>\n\u003cp>Both John and Mary (Penny Layden) represent the issues that encompass Will as he navigates a scandalous pregnancy out of wedlock. While Barrett conveys the horror of John’s temper in O’Farrell’s novel, he’s equally delightful as the bumbling comic actor Will Kempe. And Troy Alexander as Barthlolomew is a gargantuan presence, taking charge when he sees fit. \u003c/p>\n\u003cp>Art will always have the power to heal weary souls, contextualizing some of existence’s most distressing moments. Hamnet needs a greater commitment to manifest its own quintessence, but the pathway is there for the taking. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hamnet’ runs through Sunday, May 24 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/hamnet\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Review: ‘Hamnet’ at ACT in San Francisco Needs Brushing Up | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During one of the most critical scenes in the play \u003cem>Hamnet\u003c/em>, a grieving mother, Agnes, watches in awe at the theater world of her husband, William Shakespeare. A world of costumes and nightly death, it also inspires reverence, and she comes to understand that her late son was the quintessence of glory. \u003c/p>\n\u003cp>To see Agnes absorb \u003cem>Hamlet\u003c/em>’s every word despite not understanding most of them is to witness simultaneous grief and healing. For eternity, she realizes, one of the world’s greatest plays will be connected to one of the universe’s most perfect 11-year-old boys.\u003c/p>\n\u003cp>Running through May 24 at San Francisco’s American Conservatory Theater, \u003cem>Hamnet\u003c/em> gives agency to Shakespeare’s mysterious and enigmatic wife, known as Anne or Agnes. This is not a historical account of a woman who simply sat by as a dutiful spouse, raising three children in Stratford-upon-Avon as Shakespeare gallivanted through London’s seedy and bustling Elizabethan theater district. Nor is it \u003cem>Shakespeare in Love\u003c/em>, the 1998 film which portrays Anne as a loveless hindrance to Shakespeare’s quill and immortality. \u003c/p>\n\u003cfigure id=\"attachment_13988826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg\" alt=\"A man in blue and a woman with a flower crown nuzzle up against one another\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rory Alexander and Kemi-Bo Jacobs as William and Agnes Shakespeare in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hamnet\u003c/em> is more on par with the jukebox musical \u003cem>& Juliet\u003c/em>, in which Anne directly questions the misogyny of Shakespeare’s storytelling. (A young teenage girl throwing her life away for a dithering and pathetic boy who changes his passions like he changes his underwear? What kind of hot garbage is that, Will?) \u003c/p>\n\u003cp>Onstage at ACT, the battles between Agnes (Kemi-Bo Jacobs) and William (Rory Alexander) are filled with pain, as Shakespeare knows he has no choice but to make the four-day trek to London and continue writing plays that may someday change the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lolita Chakrabarti’s adaptation from Maggie O’Farrell’s sweeping tale is a highly metaphoric jaunt through the thrill of new love — the mystery of this strange falcon girl who may have deep connections to witchcraft, and a base Latin tutor helping his father (Nigel Barrett) climb out of crippling debt.\u003c/p>\n\u003cfigure id=\"attachment_13988825\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"1320\" height=\"2000\" class=\"size-full wp-image-13988825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-768x1164.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-1014x1536.jpg 1014w\" sizes=\"auto, (max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Kemi-Bo Jacobs as Agnes (center), with Ajani Cabey as Hamnet and Saffron Dey as Judith in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Erica Whyman’s astute direction, long swatches of material become babies and pregnancies. This theatrical approach complements a grand and rustic scenic design by Tom Piper, who also designed the costumes. Simon Baker’s soundscape leans heavily into deep bass to augment whispers and wisdom that form much of the play’s mystery. \u003c/p>\n\u003cp>Chakrabarti’s reimagined script veers somewhat from O’Farrell’s flashback-heavy 2020 novel. Yet it’s respectful to the novel’s great intentions (the stunning clarity in the book to describe a first tryst among the apples is staged beautifully here). \u003c/p>\n\u003cp>While much about ACT’s production works, it is not perfect. The initial sounds of child whispers are hard, if not impossible, to understand. While plenty of the show meets the story’s emotional demands, other moments fall toward a thinner, more unsatisfying end. Hard honesty moves through space with too much rapidity for an audience yearning for authenticity. \u003c/p>\n\u003cfigure id=\"attachment_13988824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saffron Dey as Judith and Ajani Cabey as Hamnet in the Royal Shakespeare Company’s‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some fantastic setups preface the second act’s more damaging moments. Anyone with the slightest knowledge of Shakespeare knows that Hamnet’s demise is near; a gentle, well-paced staging doesn’t make that any easier to digest. But take note of how Jacobs conveys the hurt. As in the Ocscar-winning 2025 film of \u003cem>Hamnet\u003c/em>, Jacobs’ cries as Agnes are guttural, produced from a place that only exists for those who’ve bore and lost a child. \u003c/p>\n\u003cp>While William channels his agony into his opus, unbeknownst to those mourning back home, the stoic Agnes is the face of devastation, conveyed by Jacobs using every ounce of her emotions. \u003c/p>\n\u003cp>Both John and Mary (Penny Layden) represent the issues that encompass Will as he navigates a scandalous pregnancy out of wedlock. While Barrett conveys the horror of John’s temper in O’Farrell’s novel, he’s equally delightful as the bumbling comic actor Will Kempe. And Troy Alexander as Barthlolomew is a gargantuan presence, taking charge when he sees fit. \u003c/p>\n\u003cp>Art will always have the power to heal weary souls, contextualizing some of existence’s most distressing moments. Hamnet needs a greater commitment to manifest its own quintessence, but the pathway is there for the taking. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hamnet’ runs through Sunday, May 24 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/hamnet\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-international-airport-sfo-museum-alison-saar",
"title": "A Conversation About Black Feminist Art Takes off at SFO",
"publishDate": 1776984232,
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"headTitle": "A Conversation About Black Feminist Art Takes off at SFO | KQED",
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"content": "\u003cp>In an average year, over 50 million people pass through San Francisco International Airport. Most of them are rushing to catch a plane or greet their loved ones. But how many travelers take time to enjoy the art?\u003c/p>\n\u003cp>Art can be found all throughout SFO’s terminals, and even outside of the building. In Terminal 3, \u003ca href=\"https://nmwa.org/art/artists/alison-saar/\">Alison Saar\u003c/a>‘s stainless steel sculpture \u003cem>\u003cspan class=\"font-bold italic\">Flourish\u003c/span>\u003c/em> (2021), of a little Black girl sitting on a stack of suitcases, offers an homage to immigrant roots and diversity.\u003c/p>\n\u003cp>The artist’s goal was to have “a different conversation” about displacement and inclusion, says Ashara Ekundayo, founder of the arts organization \u003ca href=\"https://www.artistasfirstresponder.com/\">Artist As First Responder\u003c/a>. “The great thing about her piece,” says Ekundayo, “is that it sits before security.”\u003c/p>\n\u003cp>Because of that, anyone can come to airport and see it. This Friday at SFO, the public is invited to a roundtable discussion with Saar and fellow artists \u003ca href=\"https://www.adiamillett.com/\">Adia Millett\u003c/a>, \u003ca href=\"https://grokipedia.com/page/eve_sandler\">Eve Sandler \u003c/a>and the duo \u003ca href=\"https://www.instagram.com/tallersanaa/\">Taller SANAA\u003c/a> (\u003ca href=\"https://www.shannastrauss.co/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnR8yVv7RGaM__KxytVLvejtgEuuA4wmZZgLH9_H6cLzq-vWx3Uv3o_bskN3M_aem_cOqLcWpSrp4zfnzZI_fYyg\">Shanna Strauss\u003c/a> and \u003ca href=\"https://www.jessicasabogal.com/\">Jessica Sabogal\u003c/a>), moderated by Ekundayo.\u003c/p>\n\u003cfigure id=\"attachment_13988804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988804 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar, ‘Flourish,’ 2021. \u003ccite>(Ethan Kaplan Photography.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The discussion, titled \u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">\u003cem>Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/em>\u003c/a>, is part of a line of events leading up to the 50th anniversary of the \u003ca href=\"https://www.reed.edu/cres/assets/Combahee-River-Collective,-Black-Feminist-Statement,-How-We-Get-Free---Taylor.pdf\">Combahee River Collective’s statement.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Written by a group of Black feminist artists and academics in April 1977, the statement is a manifesto on intersectional oppression and how liberation for Black women leads to liberation for all.\u003c/p>\n\u003cfigure id=\"attachment_13988834\" class=\"wp-caption alignright\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg\" alt=\"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar at Arion Press in San Francisco, 2024. \u003ccite>(Courtesy of L.A. Louver Venice CA. Photograph by Nicholas Lea Bruno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To guide the discussion, Ekundayo will pull from many of its concepts, as well as an analysis of the current state of art in San Francisco.\u003c/p>\n\u003cp>Two years ago, Ekundayo asked the San Francisco Arts Commission how many women were in the city’s Civic Art Collection holdings at SFO. “They gave me a list, it was very short,” she says.\u003c/p>\n\u003cp>That list grew even shorter when she asked how many of them were women of color. And shorter still when she asked how many were Black women.\u003c/p>\n\u003cp>There were only a few, recalls Ekundayo, they were \u003ca href=\"https://www.soulsgrowndeep.org/artist/louisiana-p-bendolph\">Louisiana Bendolph\u003c/a>, \u003ca href=\"https://www.instagram.com/mildredhoward/\">Mildred Howard\u003c/a> and Alison Saar.\u003c/p>\n\u003cp>The collection now includes the works of 15 artists who are Black women and gender-expansive people of color, including \u003ca href=\"https://www.kqed.org/arts/13877054/conjuring-the-ancestors-with-art\">Sydney Cain\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\">Erica Deeman\u003c/a>, \u003ca href=\"https://www.instagram.com/ye.tunde/\">yétúndé ọlágbajú\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13986884/trina-michelle-robinson-open-your-eyes-to-water-review-root-division-500-capp-san-francisco\">Trina Michelle Robinson\u003c/a> and others.\u003c/p>\n\u003cp>In the spirit of the Combahee River Collective, addressing the history of institutions and the current state of arts in the community is Ekundayo’s larger goal. [aside postid='arts_13988742']\u003c/p>\n\u003cp>Along with archivist \u003ca href=\"https://linktr.ee/lisbettellefsen\">Lisbet Tellefsen\u003c/a> and artist and educator\u003ca href=\"https://www.courtneydesireemorris.com/\"> Dr. Courtney Desiree Morris\u003c/a>, Ekundayo is curating a website that will chart events leading up to the Statement’s 50th anniversary in 2027. It’s called \u003ca href=\"https://blackwhole.art/\">BlackW(hole).Art\u003c/a>.\u003c/p>\n\u003cp>The listings include film screenings and group archiving events, like one held earlier this month, where Ekundayo worked with Eastside Arts Alliance’s \u003ca href=\"https://www.eastsideartsalliance.org/archive-carp\">\u003cspan class=\"sqsrte-text-highlight\" data-text-attribute-id=\"1249e58e-0f20-48a1-91ed-443130327049\">Community Archival Resource Project\u003c/span>\u003c/a>. The collective invited people to contribute images to a community capsule. This was the first of four such events, and the next one will be on June 13 in partnership with the \u003ca href=\"https://www.bayarealesbianarchives.org/\">Bay Area Lesbian Archives\u003c/a>. [aside postid='arts_13987669']\u003c/p>\n\u003cp>All of these events, says Ekundayo, are representative of “a Black feminist praxis, beyond Black feminist thought.” She adds that the impact of the Combahee River Collective’s statement is in “the utility of Black women being free” and “facilitating the freedom of everyone else.”\u003c/p>\n\u003cp>As a capstone to this effort, in the spring of 2027, Ekundayo, Morris and company will partner with a number of institutions and community-based organizations to host a Black feminist symposium at UC Berkeley.\u003c/p>\n\u003cp>But for those who are either passing through the terminal, or have some time to stop by the airport tomorrow, they don’t have to wait to get a taste of what Ekundayo calls a “Black feminism visual offering.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/a> takes place April 24 at 11 a.m. at SFO Museum-Louis A. Turpen Aviation Museum and Library (International Terminal Departures Level, San Francisco International Airport). \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an average year, over 50 million people pass through San Francisco International Airport. Most of them are rushing to catch a plane or greet their loved ones. But how many travelers take time to enjoy the art?\u003c/p>\n\u003cp>Art can be found all throughout SFO’s terminals, and even outside of the building. In Terminal 3, \u003ca href=\"https://nmwa.org/art/artists/alison-saar/\">Alison Saar\u003c/a>‘s stainless steel sculpture \u003cem>\u003cspan class=\"font-bold italic\">Flourish\u003c/span>\u003c/em> (2021), of a little Black girl sitting on a stack of suitcases, offers an homage to immigrant roots and diversity.\u003c/p>\n\u003cp>The artist’s goal was to have “a different conversation” about displacement and inclusion, says Ashara Ekundayo, founder of the arts organization \u003ca href=\"https://www.artistasfirstresponder.com/\">Artist As First Responder\u003c/a>. “The great thing about her piece,” says Ekundayo, “is that it sits before security.”\u003c/p>\n\u003cp>Because of that, anyone can come to airport and see it. This Friday at SFO, the public is invited to a roundtable discussion with Saar and fellow artists \u003ca href=\"https://www.adiamillett.com/\">Adia Millett\u003c/a>, \u003ca href=\"https://grokipedia.com/page/eve_sandler\">Eve Sandler \u003c/a>and the duo \u003ca href=\"https://www.instagram.com/tallersanaa/\">Taller SANAA\u003c/a> (\u003ca href=\"https://www.shannastrauss.co/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnR8yVv7RGaM__KxytVLvejtgEuuA4wmZZgLH9_H6cLzq-vWx3Uv3o_bskN3M_aem_cOqLcWpSrp4zfnzZI_fYyg\">Shanna Strauss\u003c/a> and \u003ca href=\"https://www.jessicasabogal.com/\">Jessica Sabogal\u003c/a>), moderated by Ekundayo.\u003c/p>\n\u003cfigure id=\"attachment_13988804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988804 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar, ‘Flourish,’ 2021. \u003ccite>(Ethan Kaplan Photography.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The discussion, titled \u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">\u003cem>Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/em>\u003c/a>, is part of a line of events leading up to the 50th anniversary of the \u003ca href=\"https://www.reed.edu/cres/assets/Combahee-River-Collective,-Black-Feminist-Statement,-How-We-Get-Free---Taylor.pdf\">Combahee River Collective’s statement.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Written by a group of Black feminist artists and academics in April 1977, the statement is a manifesto on intersectional oppression and how liberation for Black women leads to liberation for all.\u003c/p>\n\u003cfigure id=\"attachment_13988834\" class=\"wp-caption alignright\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg\" alt=\"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar at Arion Press in San Francisco, 2024. \u003ccite>(Courtesy of L.A. Louver Venice CA. Photograph by Nicholas Lea Bruno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To guide the discussion, Ekundayo will pull from many of its concepts, as well as an analysis of the current state of art in San Francisco.\u003c/p>\n\u003cp>Two years ago, Ekundayo asked the San Francisco Arts Commission how many women were in the city’s Civic Art Collection holdings at SFO. “They gave me a list, it was very short,” she says.\u003c/p>\n\u003cp>That list grew even shorter when she asked how many of them were women of color. And shorter still when she asked how many were Black women.\u003c/p>\n\u003cp>There were only a few, recalls Ekundayo, they were \u003ca href=\"https://www.soulsgrowndeep.org/artist/louisiana-p-bendolph\">Louisiana Bendolph\u003c/a>, \u003ca href=\"https://www.instagram.com/mildredhoward/\">Mildred Howard\u003c/a> and Alison Saar.\u003c/p>\n\u003cp>The collection now includes the works of 15 artists who are Black women and gender-expansive people of color, including \u003ca href=\"https://www.kqed.org/arts/13877054/conjuring-the-ancestors-with-art\">Sydney Cain\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\">Erica Deeman\u003c/a>, \u003ca href=\"https://www.instagram.com/ye.tunde/\">yétúndé ọlágbajú\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13986884/trina-michelle-robinson-open-your-eyes-to-water-review-root-division-500-capp-san-francisco\">Trina Michelle Robinson\u003c/a> and others.\u003c/p>\n\u003cp>In the spirit of the Combahee River Collective, addressing the history of institutions and the current state of arts in the community is Ekundayo’s larger goal. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with archivist \u003ca href=\"https://linktr.ee/lisbettellefsen\">Lisbet Tellefsen\u003c/a> and artist and educator\u003ca href=\"https://www.courtneydesireemorris.com/\"> Dr. Courtney Desiree Morris\u003c/a>, Ekundayo is curating a website that will chart events leading up to the Statement’s 50th anniversary in 2027. It’s called \u003ca href=\"https://blackwhole.art/\">BlackW(hole).Art\u003c/a>.\u003c/p>\n\u003cp>The listings include film screenings and group archiving events, like one held earlier this month, where Ekundayo worked with Eastside Arts Alliance’s \u003ca href=\"https://www.eastsideartsalliance.org/archive-carp\">\u003cspan class=\"sqsrte-text-highlight\" data-text-attribute-id=\"1249e58e-0f20-48a1-91ed-443130327049\">Community Archival Resource Project\u003c/span>\u003c/a>. The collective invited people to contribute images to a community capsule. This was the first of four such events, and the next one will be on June 13 in partnership with the \u003ca href=\"https://www.bayarealesbianarchives.org/\">Bay Area Lesbian Archives\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of these events, says Ekundayo, are representative of “a Black feminist praxis, beyond Black feminist thought.” She adds that the impact of the Combahee River Collective’s statement is in “the utility of Black women being free” and “facilitating the freedom of everyone else.”\u003c/p>\n\u003cp>As a capstone to this effort, in the spring of 2027, Ekundayo, Morris and company will partner with a number of institutions and community-based organizations to host a Black feminist symposium at UC Berkeley.\u003c/p>\n\u003cp>But for those who are either passing through the terminal, or have some time to stop by the airport tomorrow, they don’t have to wait to get a taste of what Ekundayo calls a “Black feminism visual offering.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/a> takes place April 24 at 11 a.m. at SFO Museum-Louis A. Turpen Aviation Museum and Library (International Terminal Departures Level, San Francisco International Airport). \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "trans-new-weird-new-queer-cinema-ybca-frameline-series",
"title": "What Is ‘Trans New Weird’? An Emerging Film Genre Screens at YBCA",
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"headTitle": "What Is ‘Trans New Weird’? An Emerging Film Genre Screens at YBCA | KQED",
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"content": "\u003cp>There’s something happening in trans cinema right now. It’s playful, messy, campy and decidedly raw. Film programmers Gabi Grossman and Aidan Dick, both of Frameline, have coined the phrase “Trans New Weird” to describe this emerging genre coming from mostly trans directors.\u003c/p>\n\u003cp>“These films are extraordinarily playful,” Grossman says. “They’re also a reaction against the demand in certain more mainstream films for trans people to be ‘normal,’ whatever that means.”\u003c/p>\n\u003cp>She puts it another way: “They keep the weird in queer.”\u003c/p>\n\u003cp>To introduce this “new wave” of filmmaking to even more audiences, Grossman and Dick have now programmed a series of double features at Yerba Buena Center for the Arts. Spread across three months, \u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-who-owns-our-image/\">New Queer Cinema x Trans New Weird\u003c/a> pairs ’90s independent films with contemporary, thematic counterparts.\u003c/p>\n\u003cp>“It was important to give context and to showcase that nothing exists in a vacuum, right?” Grossman says. “Queer and trans artists have always been dreaming up new ways to demand dignity and equal rights.”\u003c/p>\n\u003cfigure id=\"attachment_13988634\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW.jpg\" alt=\"wet man screams upward\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Todd Haynes’ ‘Poison,’ 1991. \u003ccite>(Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First up on the schedule is “Who Owns Our Image,” featuring Todd Haynes’ \u003ci>Poison\u003c/i> (1991) and Vera Drew’s \u003ci>The People’s Joker\u003c/i> (2022). The movies will play back to back on Saturday, April 18, starting at 1 p.m.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both borrow from and then upend traditional narrative conventions. Haynes channels three distinct genres for \u003ci>Poison\u003c/i>: a television news documentary, a B-movie horror flick, and a gritty prison diary. As the movie progresses, the storylines intercut more frequently and converge, avoiding narrative closure and transgressing “straight” film language.\u003c/p>\n\u003cp>“\u003ci>Poison\u003c/i>, when I first saw it, when I was a teenager, rewired my brain about what it was that a movie could be and what it was that a queer filmmaker could do,” Grossman says.\u003c/p>\n\u003cp>In \u003ci>The People’s Joker\u003c/i>, Drew takes on the canon of DC Comics, depicting the Joker as a trans woman trying to break into the Gotham comedy scene. The movie flits through the tones and styles of a variety of Batman eras; animated sequences create even more surreal possibilities. Proclaiming itself a “fair use film,” \u003ci>The People’s Joker\u003c/i> holds no intellectual property sacred. Drew refashions and remixes both characters and story lines toward her own moviemaking ends.\u003c/p>\n\u003cfigure id=\"attachment_13988632\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file.jpeg\" alt=\"Black person lowers classes\" width=\"1333\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file.jpeg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">A still from Stephen Winters’ ‘Chocolate Babies,’ 1996. \u003ccite>(Frameline Distribution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They’re playing with the same idea and doing so in completely different ways that speaks to their time and their place,” Grossman says of Haynes and Drew. Part of the goal in organizing the YBCA series is to create an artistic context — a lineage of independent cinema — that can bridge a generational gap in audiences.\u003c/p>\n\u003cp>“It’s really easy to get our blinders up and to think that we exist in this sort of isolated moment,” Grossman says. Yet thinking of the Reagan administration’s lack of response to the AIDS crisis, and the current proliferation of anti-trans bills, she says, “It’s hard not to see the parallels of what’s going on politically today.”\u003c/p>\n\u003cp>Next up for the series will be “\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-queer-vigilantes/\">Queer Vigilantes\u003c/a>” on May 16, with Stephen Winter’s \u003ci>Chocolate Babies\u003c/i> (1996) and Alice Maio Mackay’s \u003ci>T Blockers\u003c/i> (2023). And on June 6, “\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-teen-death-drive/\">Teen Death Drive\u003c/a>” will feature Gregg Araki’s \u003ci>Totally Fucked Up\u003c/i> (1993) and Jane Schoenbrun’s \u003ci>We’re All Going to the World’s Fair\u003c/i> (2021).\u003c/p>\n\u003cfigure id=\"attachment_13988633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988633\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair.png\" alt=\"person with glowing face paint holds a fake eye to their own eye\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-1200x675.png 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jane Jane Schoenbrun’s ‘We’re All Going to the World’s Fair,’ 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>If audiences emerge from all three Saturday screenings wanting more, Grossman is happy to report that \u003ca href=\"https://www.frameline.org/festival\">Frameline 50\u003c/a>, coming up June 17–27, will include a more extensive Trans New Weird program.\u003c/p>\n\u003cp>Ultimately, she hopes Trans New Weird films will inspire audiences just like the New Queer Cinema films inspired her the first time she saw them.\u003c/p>\n\u003cp>“We want to make you pick up a camera and go make something,” she says of the YBCA series. “This program is all in the spirit of getting people to make movies that reflect themselves, to make art that reflects their experience.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-who-owns-our-image/\">New Queer Cinema x Trans New Weird: Who Owns Our Image?\u003c/a>’ plays at Yerba Buena Center for the Arts (701 Mission St., San Francisco) on Saturday, April 18, at 1 p.m. Future screenings will take place on May 16 and June 6, also at 1 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s something happening in trans cinema right now. It’s playful, messy, campy and decidedly raw. Film programmers Gabi Grossman and Aidan Dick, both of Frameline, have coined the phrase “Trans New Weird” to describe this emerging genre coming from mostly trans directors.\u003c/p>\n\u003cp>“These films are extraordinarily playful,” Grossman says. “They’re also a reaction against the demand in certain more mainstream films for trans people to be ‘normal,’ whatever that means.”\u003c/p>\n\u003cp>She puts it another way: “They keep the weird in queer.”\u003c/p>\n\u003cp>To introduce this “new wave” of filmmaking to even more audiences, Grossman and Dick have now programmed a series of double features at Yerba Buena Center for the Arts. Spread across three months, \u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-who-owns-our-image/\">New Queer Cinema x Trans New Weird\u003c/a> pairs ’90s independent films with contemporary, thematic counterparts.\u003c/p>\n\u003cp>“It was important to give context and to showcase that nothing exists in a vacuum, right?” Grossman says. “Queer and trans artists have always been dreaming up new ways to demand dignity and equal rights.”\u003c/p>\n\u003cfigure id=\"attachment_13988634\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW.jpg\" alt=\"wet man screams upward\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Todd Haynes’ ‘Poison,’ 1991. \u003ccite>(Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First up on the schedule is “Who Owns Our Image,” featuring Todd Haynes’ \u003ci>Poison\u003c/i> (1991) and Vera Drew’s \u003ci>The People’s Joker\u003c/i> (2022). The movies will play back to back on Saturday, April 18, starting at 1 p.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both borrow from and then upend traditional narrative conventions. Haynes channels three distinct genres for \u003ci>Poison\u003c/i>: a television news documentary, a B-movie horror flick, and a gritty prison diary. As the movie progresses, the storylines intercut more frequently and converge, avoiding narrative closure and transgressing “straight” film language.\u003c/p>\n\u003cp>“\u003ci>Poison\u003c/i>, when I first saw it, when I was a teenager, rewired my brain about what it was that a movie could be and what it was that a queer filmmaker could do,” Grossman says.\u003c/p>\n\u003cp>In \u003ci>The People’s Joker\u003c/i>, Drew takes on the canon of DC Comics, depicting the Joker as a trans woman trying to break into the Gotham comedy scene. The movie flits through the tones and styles of a variety of Batman eras; animated sequences create even more surreal possibilities. Proclaiming itself a “fair use film,” \u003ci>The People’s Joker\u003c/i> holds no intellectual property sacred. Drew refashions and remixes both characters and story lines toward her own moviemaking ends.\u003c/p>\n\u003cfigure id=\"attachment_13988632\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file.jpeg\" alt=\"Black person lowers classes\" width=\"1333\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file.jpeg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">A still from Stephen Winters’ ‘Chocolate Babies,’ 1996. \u003ccite>(Frameline Distribution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They’re playing with the same idea and doing so in completely different ways that speaks to their time and their place,” Grossman says of Haynes and Drew. Part of the goal in organizing the YBCA series is to create an artistic context — a lineage of independent cinema — that can bridge a generational gap in audiences.\u003c/p>\n\u003cp>“It’s really easy to get our blinders up and to think that we exist in this sort of isolated moment,” Grossman says. Yet thinking of the Reagan administration’s lack of response to the AIDS crisis, and the current proliferation of anti-trans bills, she says, “It’s hard not to see the parallels of what’s going on politically today.”\u003c/p>\n\u003cp>Next up for the series will be “\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-queer-vigilantes/\">Queer Vigilantes\u003c/a>” on May 16, with Stephen Winter’s \u003ci>Chocolate Babies\u003c/i> (1996) and Alice Maio Mackay’s \u003ci>T Blockers\u003c/i> (2023). And on June 6, “\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-teen-death-drive/\">Teen Death Drive\u003c/a>” will feature Gregg Araki’s \u003ci>Totally Fucked Up\u003c/i> (1993) and Jane Schoenbrun’s \u003ci>We’re All Going to the World’s Fair\u003c/i> (2021).\u003c/p>\n\u003cfigure id=\"attachment_13988633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988633\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair.png\" alt=\"person with glowing face paint holds a fake eye to their own eye\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-1200x675.png 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jane Jane Schoenbrun’s ‘We’re All Going to the World’s Fair,’ 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>If audiences emerge from all three Saturday screenings wanting more, Grossman is happy to report that \u003ca href=\"https://www.frameline.org/festival\">Frameline 50\u003c/a>, coming up June 17–27, will include a more extensive Trans New Weird program.\u003c/p>\n\u003cp>Ultimately, she hopes Trans New Weird films will inspire audiences just like the New Queer Cinema films inspired her the first time she saw them.\u003c/p>\n\u003cp>“We want to make you pick up a camera and go make something,” she says of the YBCA series. “This program is all in the spirit of getting people to make movies that reflect themselves, to make art that reflects their experience.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-who-owns-our-image/\">New Queer Cinema x Trans New Weird: Who Owns Our Image?\u003c/a>’ plays at Yerba Buena Center for the Arts (701 Mission St., San Francisco) on Saturday, April 18, at 1 p.m. Future screenings will take place on May 16 and June 6, also at 1 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "enraizando-bomba-dance-bayview-opera-house-puerto-rico",
"title": "The Deep Roots of Puerto Rican Culture Come to the Bayview Opera House",
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"content": "\u003cp>This weekend in San Francisco, the vibrant \u003ca href=\"https://events.humanitix.com/enraizar\">\u003cem>Enraizando\u003c/em>\u003c/a> dance production will give audiences a window into Puerto Rican history and culture.\u003c/p>\n\u003cp>During the performance, the rhythm of uptempo percussions will be intertwined with the footwork, fashion and flair of bomba dance. There’ll be singing and storytelling, as well as scenes from the island shown on a large screen while performers dance on stage, paying homage to their heritage and honoring their own maturation.\u003c/p>\n\u003cp>“Enraizando” translates to “rooting within.” This show, says producer and performer \u003ca href=\"https://www.instagram.com/bombaaguacero/\">Shefali Shah\u003c/a>, represents the journey of self-exploration.\u003c/p>\n\u003cp>For Shah, this process of using bomba to better understand her own roots started over 25 years ago. And now, through working with a group of young women, her endeavor has come full circle.\u003c/p>\n\u003cp>Shah grew up in Puerto Rico, the child of immigrants from India. While pursing higher education at UC Berkeley, she met \u003ca href=\"https://www.instagram.com/fantauzzi_brothers/\">Kahlil Jacobs-Fantauzzi\u003c/a>, who was then leading the student organization \u003ca href=\"https://www.apuertorriquena.org/\">Acción Boricua y Caribeña\u003c/a> (Puerto Rican and Caribbean Action).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Through that collective, Shah developed a deeper relationship to Puerto Rico.\u003c/p>\n\u003cfigure id=\"attachment_13988551\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f.jpg\" alt=\"A woman in a bright top and colorful skirt dances as she takes a photo.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented artist Shefali Shah is the co-founder of the Aguacero ensemble. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We learned about these political prisoners,” she says, telling the story of the Fuerzas Armadas de Liberación Nacional (\u003ca href=\"https://sk.sagepub.com/ency/edvol/ethnicity/chpt/puerto-rican-armed-forces-national-liberation-faln#_\">Armed Forces of National Liberation\u003c/a>), a Puerto Rican independence group known as FALN who had members incarcerated in the Federal Correctional Institute in Dublin on charges of weapons violations, theft, conspiracy and more.\u003c/p>\n\u003cp>The student group paid them visits, and simultaneously learned more about the social and political situation in the U.S. territory. “Through that process we also became more culturally aware and connected,” Shah reflects. “And my work here, to this day, has been rooted in this connection that I made with those women.”\u003c/p>\n\u003cp>[aside postID='arts_13881446' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-800x450.jpg']The incarcerated FALN members were released after President Clinton granted them clemency in 1999.\u003c/p>\n\u003cp>One year prior to that, in 1998, Shah took her first \u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\">bomba\u003c/a> class. She was familiar with the dance from her childhood, but it was through that class that she became immersed the oldest Puerto Rican musical tradition — one that began as a way to combat enslavement and colonial oppression, and has grown to represent Puerto Rico’s ongoing culture of resilience.\u003c/p>\n\u003cp>Not long after taking that class, Shah began working with percussionist \u003ca href=\"https://www.missionculturalcenter.org/hector-lugo\">Héctor Lugo\u003c/a>, another UC Berkeley connection. In 2002 Shah began teaching a class at Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> with Lugo, called the “\u003ca href=\"https://www.youtube.com/watch?v=dn2bC572S-E\">Bay Area Bomba y Plena Workshop\u003c/a>.”\u003c/p>\n\u003cp>In 2007 they tailored a class for children called \u003ca href=\"https://www.aguacerobomba.org/quenepas\">Quenepas\u003c/a>; some of those former students are now part of the \u003ci>Enraizando\u003c/i> production. With the aim of creating a safe space for young women to discuss social issues and freely express themselves, Shah uses bomba as a teaching tool.\u003c/p>\n\u003cfigure id=\"attachment_13988556\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP.jpg\" alt=\"A trio of young women dance on stage, while a handful of children watch from the front row. \" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP-768x512.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">During the ‘Enraizando’ performance, drums will be played and dancers will twirl, as seven young women tell the story of finding themselves. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not only does the dance — and its inherent storytelling — aid in the process of passing along cultural traditions, she says, it shows the young performers a way to grow from within. “They’re finding themselves through cultural and ancestral connections,” Shah explains.\u003c/p>\n\u003cp>“These young women have found a friendship that I’m hoping will last a lifetime,” Shah says, reflecting on all of the Saturdays the group has spent together over the past two years. “And now they’re going to share their part of what it means to transition into womanhood.”\u003c/p>\n\u003cp>The show, part of the larger 20th annual \u003ca href=\"https://www.cubacaribe.org/\">CubaCaribe festival\u003c/a>, runs April 17 and 18 at the Bayview Opera House, and concludes on April 19 with a unique performance at Shah’s second home for the past 26 years, La Peña.\u003c/p>\n\u003cp>There, attendees will enjoy what Shah has coined as \u003ca href=\"https://events.humanitix.com/bombatey\">\u003cem>Bombatey\u003c/em>\u003c/a>, an event that showcases bomba dance and an Indigenous Taíno ceremonial circle, or a “Boricua batey,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13988555\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy.jpg\" alt=\"Members of a bamba ensemble pose for a photo while wearing coordinated yellow shirts. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Aguacero ensemble pose for a photo at the Oakland Museum of California. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday and Saturday’s shows at the Bayview Opera House will also feature the Aguacero ensemble, directed by Shah and led by \u003ca href=\"https://www.bululusf.com/ayla-davila-bio\">Ayla Dávila\u003c/a> and Héctor Lugo. They’ll be joined by multidisciplinary artist \u003ca href=\"https://www.instagram.com/maritxellcarrero/\">Maritxell Carrero\u003c/a> and \u003ca href=\"https://theatre.ucsd.edu/people/faculty/performance-studies/jade-power-sotomayor.html\">Dr. Jade Power-Sotomayor\u003c/a>, director of the Chicanx Latinx Studies Program at UC San Diego. Bay Area-based percussionist and mentor Roman “Ito” Carrillo will perform, as will Puerto Rico-based MC and poet \u003ca href=\"https://www.yairamaren.com/\">Yairamaren Roman Maldonado\u003c/a> and Mari Luna, who is currently based in Boston, but started as a young musician working with Shah and Lugo as a part of the Quenepas group.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/reels/DV_GvmolMxQ/\">Videos and photos from Puerto Rico\u003c/a> made by Berkeley filmmaker \u003ca href=\"https://www.kqed.org/arts/13919309/puerto-rico-we-still-here-hurricane-documentary\">Eli Jacobs-Fantauzzi\u003c/a> will be displayed on the walls of the Opera House, and Shah herself will also take to the stage. (“I’m going to sing,” she says. “I’m also going to dance and play minor percussion.”)\u003c/p>\n\u003cp>But the focus of the show is the young women.\u003c/p>\n\u003cp>During one of their dance pieces, the younger women will show that they’re “reflections of the older women that love them,” says Shah. She notes that there are multiple families who will be performing during the event. And that kinship, Shah adds, is shown through dance moves that illustrate how they are “sisters that walk with them in life.”\u003c/p>\n\u003cp>The performance also explores the difficulties that young women face in learning to leave and become independent. But by relying on “rooting” and the lessons learned from bomba, Shah says people grow to understand the profound interconnectivity of community and history.\u003c/p>\n\u003cp>“Even when we leave,” she says, quoting a poem from the young performers of the \u003cem>\u003ca href=\"https://events.humanitix.com/enraizar\">Enraizando\u003c/a> \u003c/em>production, “we’re never really alone.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://events.humanitix.com/enraizar\">Enraizando\u003c/a>’ takes place Friday, April 17 at 7 p.m. and Saturday, April 18 at 7 p.m. at the Bayview Opera House (4705 3rd St., San Francisco).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://events.humanitix.com/bombatey\">Bombatey\u003c/a>’ takes place at Sunday, April 19 at 2:30 p.m. at La Peña Cultural Center (3105 Shattuck Ave., Berkeley).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend in San Francisco, the vibrant \u003ca href=\"https://events.humanitix.com/enraizar\">\u003cem>Enraizando\u003c/em>\u003c/a> dance production will give audiences a window into Puerto Rican history and culture.\u003c/p>\n\u003cp>During the performance, the rhythm of uptempo percussions will be intertwined with the footwork, fashion and flair of bomba dance. There’ll be singing and storytelling, as well as scenes from the island shown on a large screen while performers dance on stage, paying homage to their heritage and honoring their own maturation.\u003c/p>\n\u003cp>“Enraizando” translates to “rooting within.” This show, says producer and performer \u003ca href=\"https://www.instagram.com/bombaaguacero/\">Shefali Shah\u003c/a>, represents the journey of self-exploration.\u003c/p>\n\u003cp>For Shah, this process of using bomba to better understand her own roots started over 25 years ago. And now, through working with a group of young women, her endeavor has come full circle.\u003c/p>\n\u003cp>Shah grew up in Puerto Rico, the child of immigrants from India. While pursing higher education at UC Berkeley, she met \u003ca href=\"https://www.instagram.com/fantauzzi_brothers/\">Kahlil Jacobs-Fantauzzi\u003c/a>, who was then leading the student organization \u003ca href=\"https://www.apuertorriquena.org/\">Acción Boricua y Caribeña\u003c/a> (Puerto Rican and Caribbean Action).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through that collective, Shah developed a deeper relationship to Puerto Rico.\u003c/p>\n\u003cfigure id=\"attachment_13988551\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f.jpg\" alt=\"A woman in a bright top and colorful skirt dances as she takes a photo.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented artist Shefali Shah is the co-founder of the Aguacero ensemble. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We learned about these political prisoners,” she says, telling the story of the Fuerzas Armadas de Liberación Nacional (\u003ca href=\"https://sk.sagepub.com/ency/edvol/ethnicity/chpt/puerto-rican-armed-forces-national-liberation-faln#_\">Armed Forces of National Liberation\u003c/a>), a Puerto Rican independence group known as FALN who had members incarcerated in the Federal Correctional Institute in Dublin on charges of weapons violations, theft, conspiracy and more.\u003c/p>\n\u003cp>The student group paid them visits, and simultaneously learned more about the social and political situation in the U.S. territory. “Through that process we also became more culturally aware and connected,” Shah reflects. “And my work here, to this day, has been rooted in this connection that I made with those women.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The incarcerated FALN members were released after President Clinton granted them clemency in 1999.\u003c/p>\n\u003cp>One year prior to that, in 1998, Shah took her first \u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\">bomba\u003c/a> class. She was familiar with the dance from her childhood, but it was through that class that she became immersed the oldest Puerto Rican musical tradition — one that began as a way to combat enslavement and colonial oppression, and has grown to represent Puerto Rico’s ongoing culture of resilience.\u003c/p>\n\u003cp>Not long after taking that class, Shah began working with percussionist \u003ca href=\"https://www.missionculturalcenter.org/hector-lugo\">Héctor Lugo\u003c/a>, another UC Berkeley connection. In 2002 Shah began teaching a class at Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> with Lugo, called the “\u003ca href=\"https://www.youtube.com/watch?v=dn2bC572S-E\">Bay Area Bomba y Plena Workshop\u003c/a>.”\u003c/p>\n\u003cp>In 2007 they tailored a class for children called \u003ca href=\"https://www.aguacerobomba.org/quenepas\">Quenepas\u003c/a>; some of those former students are now part of the \u003ci>Enraizando\u003c/i> production. With the aim of creating a safe space for young women to discuss social issues and freely express themselves, Shah uses bomba as a teaching tool.\u003c/p>\n\u003cfigure id=\"attachment_13988556\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP.jpg\" alt=\"A trio of young women dance on stage, while a handful of children watch from the front row. \" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP-768x512.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">During the ‘Enraizando’ performance, drums will be played and dancers will twirl, as seven young women tell the story of finding themselves. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not only does the dance — and its inherent storytelling — aid in the process of passing along cultural traditions, she says, it shows the young performers a way to grow from within. “They’re finding themselves through cultural and ancestral connections,” Shah explains.\u003c/p>\n\u003cp>“These young women have found a friendship that I’m hoping will last a lifetime,” Shah says, reflecting on all of the Saturdays the group has spent together over the past two years. “And now they’re going to share their part of what it means to transition into womanhood.”\u003c/p>\n\u003cp>The show, part of the larger 20th annual \u003ca href=\"https://www.cubacaribe.org/\">CubaCaribe festival\u003c/a>, runs April 17 and 18 at the Bayview Opera House, and concludes on April 19 with a unique performance at Shah’s second home for the past 26 years, La Peña.\u003c/p>\n\u003cp>There, attendees will enjoy what Shah has coined as \u003ca href=\"https://events.humanitix.com/bombatey\">\u003cem>Bombatey\u003c/em>\u003c/a>, an event that showcases bomba dance and an Indigenous Taíno ceremonial circle, or a “Boricua batey,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13988555\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy.jpg\" alt=\"Members of a bamba ensemble pose for a photo while wearing coordinated yellow shirts. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Aguacero ensemble pose for a photo at the Oakland Museum of California. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday and Saturday’s shows at the Bayview Opera House will also feature the Aguacero ensemble, directed by Shah and led by \u003ca href=\"https://www.bululusf.com/ayla-davila-bio\">Ayla Dávila\u003c/a> and Héctor Lugo. They’ll be joined by multidisciplinary artist \u003ca href=\"https://www.instagram.com/maritxellcarrero/\">Maritxell Carrero\u003c/a> and \u003ca href=\"https://theatre.ucsd.edu/people/faculty/performance-studies/jade-power-sotomayor.html\">Dr. Jade Power-Sotomayor\u003c/a>, director of the Chicanx Latinx Studies Program at UC San Diego. Bay Area-based percussionist and mentor Roman “Ito” Carrillo will perform, as will Puerto Rico-based MC and poet \u003ca href=\"https://www.yairamaren.com/\">Yairamaren Roman Maldonado\u003c/a> and Mari Luna, who is currently based in Boston, but started as a young musician working with Shah and Lugo as a part of the Quenepas group.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/reels/DV_GvmolMxQ/\">Videos and photos from Puerto Rico\u003c/a> made by Berkeley filmmaker \u003ca href=\"https://www.kqed.org/arts/13919309/puerto-rico-we-still-here-hurricane-documentary\">Eli Jacobs-Fantauzzi\u003c/a> will be displayed on the walls of the Opera House, and Shah herself will also take to the stage. (“I’m going to sing,” she says. “I’m also going to dance and play minor percussion.”)\u003c/p>\n\u003cp>But the focus of the show is the young women.\u003c/p>\n\u003cp>During one of their dance pieces, the younger women will show that they’re “reflections of the older women that love them,” says Shah. She notes that there are multiple families who will be performing during the event. And that kinship, Shah adds, is shown through dance moves that illustrate how they are “sisters that walk with them in life.”\u003c/p>\n\u003cp>The performance also explores the difficulties that young women face in learning to leave and become independent. But by relying on “rooting” and the lessons learned from bomba, Shah says people grow to understand the profound interconnectivity of community and history.\u003c/p>\n\u003cp>“Even when we leave,” she says, quoting a poem from the young performers of the \u003cem>\u003ca href=\"https://events.humanitix.com/enraizar\">Enraizando\u003c/a> \u003c/em>production, “we’re never really alone.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://events.humanitix.com/enraizar\">Enraizando\u003c/a>’ takes place Friday, April 17 at 7 p.m. and Saturday, April 18 at 7 p.m. at the Bayview Opera House (4705 3rd St., San Francisco).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://events.humanitix.com/bombatey\">Bombatey\u003c/a>’ takes place at Sunday, April 19 at 2:30 p.m. at La Peña Cultural Center (3105 Shattuck Ave., Berkeley).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A pop star’s need for a new dress sets in motion David Lowery’s \u003cem>Mother Mary\u003c/em>, a fitfully spellbinding chamber drama that grows more operatic with every stitch.\u003c/p>\n\u003cp>What might be a fairly routine affair — some performers change outfits nearly every song — is in Lowery’s latest taken to beguiling extremes when the pop star Mother Mary (Anne Hathaway) turns up wet and forlorn at the studio of her former fashion designer Sam Anselm (Michaela Coel).\u003c/p>\n\u003cp>Their reunion, after more than a decade of estrangement, reopens old wounds, stirs reinvention and spawns a ghost story sewn together, you could say, by phantom threads. It’s best at its least adorned, when Lowery leaves it to Hathaway and Coel, in a grand, shadowy workroom to work through their past. As the movie grows more abstract, it loses momentum. But an impassioned melodrama and a curiously sincere belief in the transformative power of pop music wrap \u003cem>Mother Mary\u003c/em> in a gothic garb all its own.\u003c/p>\n\u003cfigure id=\"attachment_13988518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-Anne-Hathaway.jpg\" alt=\"Anne Hathaway pictured in a gold outfit and headpiece.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-Anne-Hathaway.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-Anne-Hathaway-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-Anne-Hathaway-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-Anne-Hathaway-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anne Hathaway in ‘Mother Mary.’ \u003ccite>(Eric Zachanowich/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is, at the least, the first movie that could be called an earnest attempt to meld Taylor Swift’s Eras Tour with \u003cem>A Christmas Carol\u003c/em>. Yet Lowery, whose previous films include \u003cem>A Ghost Story\u003c/em>, \u003cem>The Green Knight\u003c/em> and \u003cem>Ain’t Them Bodies Saints\u003c/em>, took real inspiration from Swift in fashioning Mother Mary, an arena-playing star whose faithful following has spiritual dimensions made explicit by her trademark halo. (The devil may wear Prada but Mother Mary doesn’t.) Her songs in the film — written by Charli xcx, Jack Antonoff, and FKA twigs, who also co-stars — also have real pop bona fides.\u003c/p>\n\u003cp>In the movie’s heightened opening, Sam senses her impending approach instinctively. “I could tell she was coming from a thousand miles away,” she narrates. When she does turn up, Sam is offish and reluctant but too curious not to pepper and prod Mary with questions. The many attending assistants around her eventually disperse — a little hesitantly because Sam is in the middle of preparing a new show — and the two withdraw to Sam’s cavernous studio.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I need a dress,” says Mary. “Will you let me do whatever I like?” asks Sam.\u003c/p>\n\u003cfigure id=\"attachment_13988522\" class=\"wp-caption aligncenter\" style=\"max-width: 1658px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-2.jpg\" alt=\"Two women sit cross-legged, facing each other, surrounded by candles and mannequins. \" width=\"1658\" height=\"1117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-2.jpg 1658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-2-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-2-1536x1035.jpg 1536w\" sizes=\"auto, (max-width: 1658px) 100vw, 1658px\">\u003cfigcaption class=\"wp-caption-text\">Michaela Coel and Anne Hathaway in a scene from ‘Mother Mary.’ \u003ccite>(Eric Zachanowich/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The charged dialogue that follows teases out their past. The two are identified as former best friends in the press notes, but, by the sharpness of feeling, I assumed they were once lovers. More importantly, perhaps, is that they were intense collaborators. Sam was with her from the beginning and helped turn Mother Mary into the icon she’s become. As she develops a concept for a new outfit, Sam envisions a train made up of each era’s celebrated looks.\u003c/p>\n\u003cp>The shedding of some past skin seems paramount, and it’s Sam’s artistry that enables it. Mary, in a crisis that goes beyond any outfit, struggles to articulate what she’s looking for. But Sam puts her finger on it: Clarity. In three days time, Mary is to perform her first concert since a fall on stage that’s rendered more like a near suicide.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ATGaqU6Srcc\u003c/p>\n\u003cp>Hathaway makes not just a believable pop star but an indelible portrait of an artist’s ego in extremes. Her onstage power is massive — she tells Sam her new song “might be the greatest song in the history of songs” — but it’s derived from acutely apparent sensitivity and pain.\u003c/p>\n\u003cp>Still, the movie belongs to Coel, the creator of \u003cem>I May Destroy You\u003c/em>. \u003cem>Mother Mary\u003c/em> is the story of an exorcism, and she’s the exorcist. Charged with pulling out of Mary the hurt inside, Coel exquisitely performs the task with the precision of an elite surgeon.\u003c/p>\n\u003cp>[aside postID='arts_13988452' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/christophers.png']As it happens, \u003cem>Mother Mary\u003c/em> is one of two two-handers starring Coel out now, along with Steven Soderbergh’s \u003cem>The Christophers\u003c/em>, with Ian McKellen. Both depend extensively on two performers in a single location mulling the making of art. But while \u003cem>\u003ca href=\"https://www.kqed.org/arts/13988452/christophers-movie-review-steven-soderbergh-michaela-coel-mckellan\">The Christophers\u003c/a>\u003c/em> has the conviction to stick with its bare-bones set up, \u003cem>Mother Mary\u003c/em> grows increasingly surreal, sliding into body horror to unwrap a spiraling psychodrama.\u003c/p>\n\u003cp>Emotional wounds turn physical. The characters even walk through their past in Dickens-styled flashbacks. \u003cem>Mother Mary\u003c/em> gets more visually captivating but more tiresome. It puts on a fancy dress when threadbare worked just fine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mother Mary’ opens in theaters on Friday, April 17.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A pop star’s need for a new dress sets in motion David Lowery’s \u003cem>Mother Mary\u003c/em>, a fitfully spellbinding chamber drama that grows more operatic with every stitch.\u003c/p>\n\u003cp>What might be a fairly routine affair — some performers change outfits nearly every song — is in Lowery’s latest taken to beguiling extremes when the pop star Mother Mary (Anne Hathaway) turns up wet and forlorn at the studio of her former fashion designer Sam Anselm (Michaela Coel).\u003c/p>\n\u003cp>Their reunion, after more than a decade of estrangement, reopens old wounds, stirs reinvention and spawns a ghost story sewn together, you could say, by phantom threads. It’s best at its least adorned, when Lowery leaves it to Hathaway and Coel, in a grand, shadowy workroom to work through their past. As the movie grows more abstract, it loses momentum. But an impassioned melodrama and a curiously sincere belief in the transformative power of pop music wrap \u003cem>Mother Mary\u003c/em> in a gothic garb all its own.\u003c/p>\n\u003cfigure id=\"attachment_13988518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-Anne-Hathaway.jpg\" alt=\"Anne Hathaway pictured in a gold outfit and headpiece.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-Anne-Hathaway.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-Anne-Hathaway-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-Anne-Hathaway-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-Anne-Hathaway-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anne Hathaway in ‘Mother Mary.’ \u003ccite>(Eric Zachanowich/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is, at the least, the first movie that could be called an earnest attempt to meld Taylor Swift’s Eras Tour with \u003cem>A Christmas Carol\u003c/em>. Yet Lowery, whose previous films include \u003cem>A Ghost Story\u003c/em>, \u003cem>The Green Knight\u003c/em> and \u003cem>Ain’t Them Bodies Saints\u003c/em>, took real inspiration from Swift in fashioning Mother Mary, an arena-playing star whose faithful following has spiritual dimensions made explicit by her trademark halo. (The devil may wear Prada but Mother Mary doesn’t.) Her songs in the film — written by Charli xcx, Jack Antonoff, and FKA twigs, who also co-stars — also have real pop bona fides.\u003c/p>\n\u003cp>In the movie’s heightened opening, Sam senses her impending approach instinctively. “I could tell she was coming from a thousand miles away,” she narrates. When she does turn up, Sam is offish and reluctant but too curious not to pepper and prod Mary with questions. The many attending assistants around her eventually disperse — a little hesitantly because Sam is in the middle of preparing a new show — and the two withdraw to Sam’s cavernous studio.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I need a dress,” says Mary. “Will you let me do whatever I like?” asks Sam.\u003c/p>\n\u003cfigure id=\"attachment_13988522\" class=\"wp-caption aligncenter\" style=\"max-width: 1658px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-2.jpg\" alt=\"Two women sit cross-legged, facing each other, surrounded by candles and mannequins. \" width=\"1658\" height=\"1117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-2.jpg 1658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-2-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Mother-Mary-2-1536x1035.jpg 1536w\" sizes=\"auto, (max-width: 1658px) 100vw, 1658px\">\u003cfigcaption class=\"wp-caption-text\">Michaela Coel and Anne Hathaway in a scene from ‘Mother Mary.’ \u003ccite>(Eric Zachanowich/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The charged dialogue that follows teases out their past. The two are identified as former best friends in the press notes, but, by the sharpness of feeling, I assumed they were once lovers. More importantly, perhaps, is that they were intense collaborators. Sam was with her from the beginning and helped turn Mother Mary into the icon she’s become. As she develops a concept for a new outfit, Sam envisions a train made up of each era’s celebrated looks.\u003c/p>\n\u003cp>The shedding of some past skin seems paramount, and it’s Sam’s artistry that enables it. Mary, in a crisis that goes beyond any outfit, struggles to articulate what she’s looking for. But Sam puts her finger on it: Clarity. In three days time, Mary is to perform her first concert since a fall on stage that’s rendered more like a near suicide.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ATGaqU6Srcc'\n title='//www.youtube.com/embed/ATGaqU6Srcc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hathaway makes not just a believable pop star but an indelible portrait of an artist’s ego in extremes. Her onstage power is massive — she tells Sam her new song “might be the greatest song in the history of songs” — but it’s derived from acutely apparent sensitivity and pain.\u003c/p>\n\u003cp>Still, the movie belongs to Coel, the creator of \u003cem>I May Destroy You\u003c/em>. \u003cem>Mother Mary\u003c/em> is the story of an exorcism, and she’s the exorcist. Charged with pulling out of Mary the hurt inside, Coel exquisitely performs the task with the precision of an elite surgeon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As it happens, \u003cem>Mother Mary\u003c/em> is one of two two-handers starring Coel out now, along with Steven Soderbergh’s \u003cem>The Christophers\u003c/em>, with Ian McKellen. Both depend extensively on two performers in a single location mulling the making of art. But while \u003cem>\u003ca href=\"https://www.kqed.org/arts/13988452/christophers-movie-review-steven-soderbergh-michaela-coel-mckellan\">The Christophers\u003c/a>\u003c/em> has the conviction to stick with its bare-bones set up, \u003cem>Mother Mary\u003c/em> grows increasingly surreal, sliding into body horror to unwrap a spiraling psychodrama.\u003c/p>\n\u003cp>Emotional wounds turn physical. The characters even walk through their past in Dickens-styled flashbacks. \u003cem>Mother Mary\u003c/em> gets more visually captivating but more tiresome. It puts on a fancy dress when threadbare worked just fine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mother Mary’ opens in theaters on Friday, April 17.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Raise the Woof! Win Prizes for Looking Like Your Pet at This SPCA Party",
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"content": "\u003cp>There are dog owners who refer to their pets as their babies. There are folks who enjoy wearing matching outfits with their pups. And then there are the dog-human couples who are in simpatico to such a degree, they’ve started to look alike.\u003c/p>\n\u003cp>[aside postid='arts_13983145']The San Francisco SPCA knows full well this is a real thing, having spent the last century and a half uniting people with pets. That’s why the rescue organization is holding a Paws and People Look-Alike contest later this month, as part of their 158th Birthday Block Party.\u003c/p>\n\u003cp>Competition categories include: best dressed duo, best hair team and overall matching twins. One of the confirmed judges is Adria, of \u003ca href=\"https://www.tiktok.com/@adriaandoatmeal\">Adria and Oatmeal\u003c/a> — one of TikTok’s favorite pet ‘n parent combos. (Crossing everything that one of the other judges is Oatmeal…)\u003c/p>\n\u003cp>Either way, I would very much like to see an extended version of this live, thank you please:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@momkmimo/video/7497069683250646302\" data-video-id=\"7497069683250646302\">\n\u003csection>\u003ca title=\"@momkmimo\" href=\"https://www.tiktok.com/@momkmimo?refer=embed\" target=\"_blank\" rel=\"noopener\">@momkmimo\u003c/a> A dog that looks the same as its owner🐶🤣\u003ca title=\"funnydog\" href=\"https://www.tiktok.com/tag/funnydog?refer=embed\" target=\"_blank\" rel=\"noopener\">#funnydog\u003c/a> \u003ca title=\"dog\" href=\"https://www.tiktok.com/tag/dog?refer=embed\" target=\"_blank\" rel=\"noopener\">#dog\u003c/a> \u003ca title=\"tiktok\" href=\"https://www.tiktok.com/tag/tiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#tiktok\u003c/a> \u003ca title=\"funnyvideo\" href=\"https://www.tiktok.com/tag/funnyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#funnyvideo\u003c/a> \u003ca title=\"♬ Funny - Gold-Tiger\" href=\"https://www.tiktok.com/music/Funny-6927016038370428930?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Funny – Gold-Tiger\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Anyone currently lacking a mirror image in fur form should be heartened to know that the block party will also feature an adoption special. Adoptable animals from Muttville and San Francisco Animal Care and Control will be looking for new homes, and a menagerie from the SPCA will be available for a name-your-price adoption fee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beyond public displays of animal-human symbiosis, the block party will feature live entertainment, pet portrait artists, craft tables for kids and a handful of food and drink stands. (I for one am excited to day-drink free of guilt, thanks to the legends of \u003ca href=\"https://rescuedogwines.com/\">Rescue Dog Wines\u003c/a>, who routinely donate half their profits to animal rescue organizations.)\u003c/p>\n\u003cp>The block party will also be a celebration of independent local businesses that center fluffy sidekicks. Stalls by \u003ca href=\"https://www.henrynoodleshop.com/\">Henry Noodle\u003c/a>, \u003ca href=\"https://shopdiscodog.com/?srsltid=AfmBOopkvlKK8czVENqgxcC85uVe0n0gPo1CD10AMMZffdJeOifzuKUG\">Disco Dog\u003c/a>, \u003ca href=\"https://thewoofwarehouse.com/?srsltid=AfmBOoqtVCKG3_uDh0vhWUXD8i0KxkDOJlxtedSEaBTFxEJ5ghl9Ev_0\">the Woof Warehouse\u003c/a>, \u003ca href=\"https://barksandbrownies.com/\">Barks and Brownies\u003c/a> and many more will be on hand. (As will \u003ca href=\"https://www.instagram.com/babycatsofca/\">Baby Cats of California\u003c/a>, who can assist anyone wishing to replace their entire wardrobe with items of clothing that all have cats on them. Don’t knock it ’til you’ve tried it.)\u003c/p>\n\u003cp>And remember: If you’ve got a tiny twin, flaunt them. These guys know what I’m talking about…\u003c/p>\n\u003cfigure id=\"attachment_13988381\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988381\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dog-human-lookaalikes.jpg\" alt=\"A shaggy white dog with dark eyes poses face to face with his owner, who has similar white hair and dark eyes. \" width=\"2000\" height=\"1357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dog-human-lookaalikes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dog-human-lookaalikes-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dog-human-lookaalikes-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dog-human-lookaalikes-1536x1042.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">This is Crosby and his owner Paul Ceeval. Yep. \u003ccite>(Fiona Hanson - PA Images/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfspca.org/birthday-block-party/\">The San Francisco SPCA Birthday Block Party\u003c/a> is happening on April 18, 2026, on Alabama Street between 15th and 16th, 12–5 p.m. \u003c/em>\u003c/p>\n\n",
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"headline": "Raise the Woof! Win Prizes for Looking Like Your Pet at This SPCA Party",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are dog owners who refer to their pets as their babies. There are folks who enjoy wearing matching outfits with their pups. And then there are the dog-human couples who are in simpatico to such a degree, they’ve started to look alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The San Francisco SPCA knows full well this is a real thing, having spent the last century and a half uniting people with pets. That’s why the rescue organization is holding a Paws and People Look-Alike contest later this month, as part of their 158th Birthday Block Party.\u003c/p>\n\u003cp>Competition categories include: best dressed duo, best hair team and overall matching twins. One of the confirmed judges is Adria, of \u003ca href=\"https://www.tiktok.com/@adriaandoatmeal\">Adria and Oatmeal\u003c/a> — one of TikTok’s favorite pet ‘n parent combos. (Crossing everything that one of the other judges is Oatmeal…)\u003c/p>\n\u003cp>Either way, I would very much like to see an extended version of this live, thank you please:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@momkmimo/video/7497069683250646302\" data-video-id=\"7497069683250646302\">\n\u003csection>\u003ca title=\"@momkmimo\" href=\"https://www.tiktok.com/@momkmimo?refer=embed\" target=\"_blank\" rel=\"noopener\">@momkmimo\u003c/a> A dog that looks the same as its owner🐶🤣\u003ca title=\"funnydog\" href=\"https://www.tiktok.com/tag/funnydog?refer=embed\" target=\"_blank\" rel=\"noopener\">#funnydog\u003c/a> \u003ca title=\"dog\" href=\"https://www.tiktok.com/tag/dog?refer=embed\" target=\"_blank\" rel=\"noopener\">#dog\u003c/a> \u003ca title=\"tiktok\" href=\"https://www.tiktok.com/tag/tiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#tiktok\u003c/a> \u003ca title=\"funnyvideo\" href=\"https://www.tiktok.com/tag/funnyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#funnyvideo\u003c/a> \u003ca title=\"♬ Funny - Gold-Tiger\" href=\"https://www.tiktok.com/music/Funny-6927016038370428930?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Funny – Gold-Tiger\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyone currently lacking a mirror image in fur form should be heartened to know that the block party will also feature an adoption special. Adoptable animals from Muttville and San Francisco Animal Care and Control will be looking for new homes, and a menagerie from the SPCA will be available for a name-your-price adoption fee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyond public displays of animal-human symbiosis, the block party will feature live entertainment, pet portrait artists, craft tables for kids and a handful of food and drink stands. (I for one am excited to day-drink free of guilt, thanks to the legends of \u003ca href=\"https://rescuedogwines.com/\">Rescue Dog Wines\u003c/a>, who routinely donate half their profits to animal rescue organizations.)\u003c/p>\n\u003cp>The block party will also be a celebration of independent local businesses that center fluffy sidekicks. Stalls by \u003ca href=\"https://www.henrynoodleshop.com/\">Henry Noodle\u003c/a>, \u003ca href=\"https://shopdiscodog.com/?srsltid=AfmBOopkvlKK8czVENqgxcC85uVe0n0gPo1CD10AMMZffdJeOifzuKUG\">Disco Dog\u003c/a>, \u003ca href=\"https://thewoofwarehouse.com/?srsltid=AfmBOoqtVCKG3_uDh0vhWUXD8i0KxkDOJlxtedSEaBTFxEJ5ghl9Ev_0\">the Woof Warehouse\u003c/a>, \u003ca href=\"https://barksandbrownies.com/\">Barks and Brownies\u003c/a> and many more will be on hand. (As will \u003ca href=\"https://www.instagram.com/babycatsofca/\">Baby Cats of California\u003c/a>, who can assist anyone wishing to replace their entire wardrobe with items of clothing that all have cats on them. Don’t knock it ’til you’ve tried it.)\u003c/p>\n\u003cp>And remember: If you’ve got a tiny twin, flaunt them. These guys know what I’m talking about…\u003c/p>\n\u003cfigure id=\"attachment_13988381\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988381\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dog-human-lookaalikes.jpg\" alt=\"A shaggy white dog with dark eyes poses face to face with his owner, who has similar white hair and dark eyes. \" width=\"2000\" height=\"1357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dog-human-lookaalikes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dog-human-lookaalikes-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dog-human-lookaalikes-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dog-human-lookaalikes-1536x1042.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">This is Crosby and his owner Paul Ceeval. Yep. \u003ccite>(Fiona Hanson - PA Images/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfspca.org/birthday-block-party/\">The San Francisco SPCA Birthday Block Party\u003c/a> is happening on April 18, 2026, on Alabama Street between 15th and 16th, 12–5 p.m. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.ussoccer.com/competitions/uswnt-friendlies-2026/matches/united-states-japan-california-tickets-live-score-match-hub-lineups-highlights\">The U.S. Women’s National Soccer Team\u003c/a> will face the Japan Women’s National team during a friendly match in San José this Saturday. This weekend’s bout will be the first of three games between the two squads, with Seattle and Denver hosting subsequent exhibitions next week.\u003c/p>\n\u003cp>While all three competitions are technically home games for the U.S., the San José match is a meaningful return to her roots for the team’s highly decorated defensive phenom, \u003ca href=\"https://www.ussoccer.com/players/g/naomi-girma\">Naomi Girma\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m excited,” says Girma, a proud San José representative.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13988413\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-scaled.jpg\" alt=\"A candid photo of a woman in a team USA soccer jersey. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Girma looks on during the SheBelieves Cup match against Colombia. \u003ccite>(Stephen Nadler/ISI Photos/USSF/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">While Japan will undoubtably bring a healthy competition, Girma is anticipating the home crowd. \u003c/span>\u003cspan style=\"font-weight: 400\">“I love playing in San José,” she says. “It’s just fun to be in front of family and friends, and to get to see so many people after the game.”\u003c/span>\u003c/p>\n\u003cp>Born and raised in the South Bay, Girma also attended Stanford University, where she helped lead the Cardinals to the 2019 NCAA National Championship. A sophomore at the time, Girma helped cement the title win with her standout defense and a penalty kick goal in the final match against the University of North Carolina.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2022, the newly established San Diego Wave FC selected Girma as the number one overall pick in the NWSL Draft. Girma balled out and helped lead the team to a playoff birth in its first year, winning both \u003ca href=\"https://www.nwslsoccer.com/news/san-diego-wave-fc-defender-naomi-girma-named-2022-nwsl-rookie-of-the-year-presented-by-ally\">NWSL Rookie of the Year and NWSL Defender of the Year\u003c/a>.\u003c/p>\n\u003cp>As Girma got deeper into her professional career the accolades continued to flow. She was named the\u003ca href=\"https://www.espn.com/soccer/story/_/id/39287411/usa-female-player-year-girma-1st-defender-win-award\"> U.S. Soccer Female Player of the Year in 2023,\u003c/a> and in 2024 she played every minute of Team USA’s matches in the Paris Olympics, which resulted in the squad winning a gold medal.\u003c/p>\n\u003cp>In January of 2025, England’s Women’s Super League club \u003ca href=\"https://www.bbc.com/sport/football/articles/cvgm47e0pdjo\">Chelsea FC signed Girma to a multi-year deal\u003c/a>. The transfer fee Chelsea paid the Wave was reportedly $1.1 million (£890,000), making Girma \u003ca href=\"https://www.npr.org/2025/01/23/nx-s1-5270776/naomi-girma-makes-soccer-history-with-chelsea-transfer\">the first women’s player to have a contract sold for over $1 million.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13988414\" class=\"wp-caption aligncenter\" style=\"max-width: 1767px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-scaled.jpg\" alt=\"A young girl in a red soccer jersey, posing for a photo while holding a soccer ball. \" width=\"1767\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-scaled.jpg 1767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-768x1113.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-1060x1536.jpg 1060w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-1413x2048.jpg 1413w\" sizes=\"auto, (max-width: 1767px) 100vw, 1767px\">\u003cfigcaption class=\"wp-caption-text\">A young Naomi Girma, who has played soccer competitively since she was a child growing up in San José. \u003ccite>(U.S. Soccer/Getty Images.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most decorated professional athletes of the past decade, Girma got her start playing soccer on Saturdays in the South Bay.\u003c/p>\n\u003cp>“I started playing with \u003ca href=\"https://www.maledasj.com/\">Maleda\u003c/a>,” says Girma, referring to the youth soccer club in San José. Her father, a soccer player as well, started the organization. Made for soccer, the team also built community. \u003cspan style=\"font-weight: 400\">“It was just for Ethiopian families to come together,” Girma reflects, noting that as a young girl she was fiercely competitive. “But I also had a lot of fun.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She spent Saturdays playing at different parks throughout the area. With the guidance of her father (who also coached), support from her mother and mentorship from her older brother, she found her way.\u003c/span>\u003c/p>\n\u003cp>Recreation soon turned to dedicated sport, as the young Girma later joined a regional club soccer team. “Then,” she says, “[soccer] just became a very big part of my life.” Her commitment changed her schedule. She went from one game on the weekend to multiple games each week and traveling for tournaments. She played other sports as well, namely basketball, but by the time she hit high school, soccer became her one big thing. And as she locked in, it payed dividends.\u003c/p>\n\u003cp>“It definitely feels surreal sometimes,” Girma reflects, addressing her own success, grateful for everything her family has done to push her along the way.\u003c/p>\n\u003cp>“As a child of immigrants,” she says, “you can see firsthand how different your childhood was from your parents. And I think that’s something that makes you try not to take anything for granted.”\u003c/p>\n\u003cp>Even before she was born, Girma says, her parents were making sacrifices for her, and that has continued through her journey as an athlete. “They’ve instilled so many values and qualities in me that I think have helped me,” the 25-year-old soccer star says. She pinpoints how her parents exemplified discipline and work ethic, as well as perseverance and resilience. “No matter what I was doing,” Girma says, “those are definitely key things that make me who I am, and also have made me a good soccer player.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ZGJZOa4mb0\u003c/p>\n\u003cp>A South Bay kid through and through, Girma relishes the diversity the region offers. Beyond being the home base to some of the world’s largest tech companies, San José’s rich cultural tapestry exposed a young Girma to various cuisines and varieties of music.\u003c/p>\n\u003cp>“San José is typically just seen as a \u003ca href=\"https://www.kqed.org/siliconvalleyunseen/\">part of Silicon Valley\u003c/a>,” she says. “But from the inside, you know how many different cultures there are here, and how many communities there are.”\u003c/p>\n\u003cp>But it wasn’t until Girma was drafted and moved to San Diego did she fully put it in context. “I appreciated it more when I left and then came back,” she says. “There’s just something about the Bay that is really special,” says Girma, noting the “different pockets” that exists here. “I feel like there’s really no other place like it.”\u003c/p>\n\u003cp>[aside postID=news_12076503 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/IMG_1406-2000x1500.jpg']\u003c/p>\n\u003cp>Girma’s professional rise parallels soccer’s growth as of late, particularly in the U.S., and especially here in the Bay Area.\u003c/p>\n\u003cp>While California is a hub for soccer, with college teams and the club system being long established, the sport is growing professionally too. Girma literally played a part in the expansion of the NWSL and changed the value of trading a player across international leagues. And she’s seeing the sport continue to grow in popularity, especially on the women’s side.\u003c/p>\n\u003cp>Her point is evidenced by the establishment of the San José-based club, Bay FC, which as founded in 2023 and played its first game the following year. They join other regional clubs like the Oakland Roots and Oakland Soul, as well as the Monterey Bay FC, San Francisco City FC and the San Jose Earthquakes, which played their inaugural season 30 years ago under the name San Jose Clash.\u003c/p>\n\u003cp>Last fall, a barge carrying \u003ca href=\"https://www.youtube.com/shorts/mU8tRTGyQxg\">a huge floating soccer pitch\u003c/a> was anchored near San Francisco’s Pier 50, as the National Women’s Soccer League celebrated its championship week.\u003c/p>\n\u003cp>And later this year, the \u003ca href=\"https://www.fifa.com/en/tournaments/mens/worldcup/canadamexicousa2026\">2026 FIFA World Cup\u003c/a> will bring a series of matches to venues across North America, including Santa Clara’s Levi’s Stadium.\u003c/p>\n\u003cp>“I feel like this summer will be a big moment to have a lot of eyes on [soccer] in this country,” predicts Girma. She mentions the NWSL’s latest expansion teams, Boston Legacy FC and Denver Summit FC, and says the growth is continuing. “I hope that the same will happen on the men’s side too,” she adds.\u003c/p>\n\u003cp>As the game expands, and more young soccer stars develop on the fields around the Bay Area and beyond, Girma offers a bit of advice for footballers looking to turn their passion into a career.\u003c/p>\n\u003cp>“Run your own race,” she says, quoting a mentor of hers. People grow at different rates, so there’s no sense in comparing yourself to another person. “Some people peak earlier,” Girma says, noting how some might get calls from national teams or move ahead at a younger age. “Just focus on yourself, and you’ll get to where you wanna go.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Naomi Girma and the U.S. Women’s National Soccer Team face the Japan Women’s National team on Saturday, April 11, at 2:30 p.m. at PayPal Park in San José. For tickets and information, \u003ca href=\"https://www.ussoccer.com/competitions/uswnt-friendlies-2026/matches/united-states-japan-california-tickets-live-score-match-hub-lineups-highlights\">check here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.ussoccer.com/competitions/uswnt-friendlies-2026/matches/united-states-japan-california-tickets-live-score-match-hub-lineups-highlights\">The U.S. Women’s National Soccer Team\u003c/a> will face the Japan Women’s National team during a friendly match in San José this Saturday. This weekend’s bout will be the first of three games between the two squads, with Seattle and Denver hosting subsequent exhibitions next week.\u003c/p>\n\u003cp>While all three competitions are technically home games for the U.S., the San José match is a meaningful return to her roots for the team’s highly decorated defensive phenom, \u003ca href=\"https://www.ussoccer.com/players/g/naomi-girma\">Naomi Girma\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m excited,” says Girma, a proud San José representative.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13988413\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-scaled.jpg\" alt=\"A candid photo of a woman in a team USA soccer jersey. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-2-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Girma looks on during the SheBelieves Cup match against Colombia. \u003ccite>(Stephen Nadler/ISI Photos/USSF/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">While Japan will undoubtably bring a healthy competition, Girma is anticipating the home crowd. \u003c/span>\u003cspan style=\"font-weight: 400\">“I love playing in San José,” she says. “It’s just fun to be in front of family and friends, and to get to see so many people after the game.”\u003c/span>\u003c/p>\n\u003cp>Born and raised in the South Bay, Girma also attended Stanford University, where she helped lead the Cardinals to the 2019 NCAA National Championship. A sophomore at the time, Girma helped cement the title win with her standout defense and a penalty kick goal in the final match against the University of North Carolina.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2022, the newly established San Diego Wave FC selected Girma as the number one overall pick in the NWSL Draft. Girma balled out and helped lead the team to a playoff birth in its first year, winning both \u003ca href=\"https://www.nwslsoccer.com/news/san-diego-wave-fc-defender-naomi-girma-named-2022-nwsl-rookie-of-the-year-presented-by-ally\">NWSL Rookie of the Year and NWSL Defender of the Year\u003c/a>.\u003c/p>\n\u003cp>As Girma got deeper into her professional career the accolades continued to flow. She was named the\u003ca href=\"https://www.espn.com/soccer/story/_/id/39287411/usa-female-player-year-girma-1st-defender-win-award\"> U.S. Soccer Female Player of the Year in 2023,\u003c/a> and in 2024 she played every minute of Team USA’s matches in the Paris Olympics, which resulted in the squad winning a gold medal.\u003c/p>\n\u003cp>In January of 2025, England’s Women’s Super League club \u003ca href=\"https://www.bbc.com/sport/football/articles/cvgm47e0pdjo\">Chelsea FC signed Girma to a multi-year deal\u003c/a>. The transfer fee Chelsea paid the Wave was reportedly $1.1 million (£890,000), making Girma \u003ca href=\"https://www.npr.org/2025/01/23/nx-s1-5270776/naomi-girma-makes-soccer-history-with-chelsea-transfer\">the first women’s player to have a contract sold for over $1 million.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13988414\" class=\"wp-caption aligncenter\" style=\"max-width: 1767px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-scaled.jpg\" alt=\"A young girl in a red soccer jersey, posing for a photo while holding a soccer ball. \" width=\"1767\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-scaled.jpg 1767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-768x1113.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-1060x1536.jpg 1060w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/0-1413x2048.jpg 1413w\" sizes=\"auto, (max-width: 1767px) 100vw, 1767px\">\u003cfigcaption class=\"wp-caption-text\">A young Naomi Girma, who has played soccer competitively since she was a child growing up in San José. \u003ccite>(U.S. Soccer/Getty Images.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most decorated professional athletes of the past decade, Girma got her start playing soccer on Saturdays in the South Bay.\u003c/p>\n\u003cp>“I started playing with \u003ca href=\"https://www.maledasj.com/\">Maleda\u003c/a>,” says Girma, referring to the youth soccer club in San José. Her father, a soccer player as well, started the organization. Made for soccer, the team also built community. \u003cspan style=\"font-weight: 400\">“It was just for Ethiopian families to come together,” Girma reflects, noting that as a young girl she was fiercely competitive. “But I also had a lot of fun.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She spent Saturdays playing at different parks throughout the area. With the guidance of her father (who also coached), support from her mother and mentorship from her older brother, she found her way.\u003c/span>\u003c/p>\n\u003cp>Recreation soon turned to dedicated sport, as the young Girma later joined a regional club soccer team. “Then,” she says, “[soccer] just became a very big part of my life.” Her commitment changed her schedule. She went from one game on the weekend to multiple games each week and traveling for tournaments. She played other sports as well, namely basketball, but by the time she hit high school, soccer became her one big thing. And as she locked in, it payed dividends.\u003c/p>\n\u003cp>“It definitely feels surreal sometimes,” Girma reflects, addressing her own success, grateful for everything her family has done to push her along the way.\u003c/p>\n\u003cp>“As a child of immigrants,” she says, “you can see firsthand how different your childhood was from your parents. And I think that’s something that makes you try not to take anything for granted.”\u003c/p>\n\u003cp>Even before she was born, Girma says, her parents were making sacrifices for her, and that has continued through her journey as an athlete. “They’ve instilled so many values and qualities in me that I think have helped me,” the 25-year-old soccer star says. She pinpoints how her parents exemplified discipline and work ethic, as well as perseverance and resilience. “No matter what I was doing,” Girma says, “those are definitely key things that make me who I am, and also have made me a good soccer player.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5ZGJZOa4mb0'\n title='//www.youtube.com/embed/5ZGJZOa4mb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A South Bay kid through and through, Girma relishes the diversity the region offers. Beyond being the home base to some of the world’s largest tech companies, San José’s rich cultural tapestry exposed a young Girma to various cuisines and varieties of music.\u003c/p>\n\u003cp>“San José is typically just seen as a \u003ca href=\"https://www.kqed.org/siliconvalleyunseen/\">part of Silicon Valley\u003c/a>,” she says. “But from the inside, you know how many different cultures there are here, and how many communities there are.”\u003c/p>\n\u003cp>But it wasn’t until Girma was drafted and moved to San Diego did she fully put it in context. “I appreciated it more when I left and then came back,” she says. “There’s just something about the Bay that is really special,” says Girma, noting the “different pockets” that exists here. “I feel like there’s really no other place like it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Girma’s professional rise parallels soccer’s growth as of late, particularly in the U.S., and especially here in the Bay Area.\u003c/p>\n\u003cp>While California is a hub for soccer, with college teams and the club system being long established, the sport is growing professionally too. Girma literally played a part in the expansion of the NWSL and changed the value of trading a player across international leagues. And she’s seeing the sport continue to grow in popularity, especially on the women’s side.\u003c/p>\n\u003cp>Her point is evidenced by the establishment of the San José-based club, Bay FC, which as founded in 2023 and played its first game the following year. They join other regional clubs like the Oakland Roots and Oakland Soul, as well as the Monterey Bay FC, San Francisco City FC and the San Jose Earthquakes, which played their inaugural season 30 years ago under the name San Jose Clash.\u003c/p>\n\u003cp>Last fall, a barge carrying \u003ca href=\"https://www.youtube.com/shorts/mU8tRTGyQxg\">a huge floating soccer pitch\u003c/a> was anchored near San Francisco’s Pier 50, as the National Women’s Soccer League celebrated its championship week.\u003c/p>\n\u003cp>And later this year, the \u003ca href=\"https://www.fifa.com/en/tournaments/mens/worldcup/canadamexicousa2026\">2026 FIFA World Cup\u003c/a> will bring a series of matches to venues across North America, including Santa Clara’s Levi’s Stadium.\u003c/p>\n\u003cp>“I feel like this summer will be a big moment to have a lot of eyes on [soccer] in this country,” predicts Girma. She mentions the NWSL’s latest expansion teams, Boston Legacy FC and Denver Summit FC, and says the growth is continuing. “I hope that the same will happen on the men’s side too,” she adds.\u003c/p>\n\u003cp>As the game expands, and more young soccer stars develop on the fields around the Bay Area and beyond, Girma offers a bit of advice for footballers looking to turn their passion into a career.\u003c/p>\n\u003cp>“Run your own race,” she says, quoting a mentor of hers. People grow at different rates, so there’s no sense in comparing yourself to another person. “Some people peak earlier,” Girma says, noting how some might get calls from national teams or move ahead at a younger age. “Just focus on yourself, and you’ll get to where you wanna go.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Naomi Girma and the U.S. Women’s National Soccer Team face the Japan Women’s National team on Saturday, April 11, at 2:30 p.m. at PayPal Park in San José. For tickets and information, \u003ca href=\"https://www.ussoccer.com/competitions/uswnt-friendlies-2026/matches/united-states-japan-california-tickets-live-score-match-hub-lineups-highlights\">check here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"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": {
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"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": {
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"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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