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"content": "\u003cp>In 1968, a “good girl” is squeaky clean. She studies hard, follows the rules, gets into college and doesn’t embarrass her parents. She doesn’t lie or drink or do drugs. She doesn’t participate in the \u003ca href=\"https://www.kqed.org/arts/tag/summer-of-love\">Summer of Love\u003c/a> or experiment with any of its alternative ways of living. She definitely doesn’t have premarital sex, get pregnant and upend everyone’s meticulously laid plans for her future.\u003c/p>\n\u003cp>For Elizabeth “Baker” Phillips, the main character in \u003ci>\u003ca href=\"https://www.penguinrandomhouse.com/books/773252/where-the-girls-were-by-kate-schatz/\">Where the Girls Were\u003c/a>\u003c/i>, Kate Schatz’s first novel, being a good girl is her everything. And it’s stifling. When Baker lets loose for the first time ever, joining her cousin at a New Year’s Eve concert in the Fillmore, she succumbs to the romance of the night and sleeps with a handsome young stranger.\u003c/p>\n\u003cp>[aside postid=arts_13974380 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/magdalen-feb-1925-1020x706.jpg']“Five radiant weeks” and a handful of furtive encounters later, the high school senior discovers she’s not the only one on his mind. Not long after, she must face the fact that her tiredness, nausea and sore breasts are not just symptoms of heartbreak.\u003c/p>\n\u003cp>It’s hard to imagine this world now, from a distance of nearly 60 years. The pill existed, but was mostly prescribed to married women; it wouldn’t become legal for unmarried women in all 50 states until 1972. Roe v. Wade didn’t strike down state abortion laws until 1973. Nobody mentions condoms anywhere in the book.\u003c/p>\n\u003cp>Despite her school smarts, Baker is woefully unaware of the mechanics of sex and the dangers of pregnancy. (She knows, she tells her paramour, “a whole lot. And hardly anything at all.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the few options available to unwed mothers in 1968 were private maternity homes, where families sent their daughters under the pretense of study abroad programs or extended visits to distant relatives. The girls gave their babies up in closed adoptions, often never speaking of their pregnancies again.\u003c/p>\n\u003cfigure id=\"attachment_13987089\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Kate-Schatz_credit-Lauren-Pariani_2000.jpg\" alt=\"White woman with long hair and glasses against bright pink background\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Kate-Schatz_credit-Lauren-Pariani_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Kate-Schatz_credit-Lauren-Pariani_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Kate-Schatz_credit-Lauren-Pariani_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Kate-Schatz_credit-Lauren-Pariani_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Author Kate Schatz. \u003ccite>(Lauren Pariani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schatz’s own mother was one of these young women. It was her tearful story of two secret pregnancies that sparked Schatz’s research into what would become \u003ci>Where the Girls Were\u003c/i> (out March 3 from The Dial Press). Known for her “\u003ca href=\"https://www.kqed.org/arts/10602405/beyond-susan-b-anthony-the-rad-women-of-american-history\">Rad Women\u003c/a>” series and \u003ci>\u003ca href=\"https://www.kqed.org/news/11920323/do-the-work-with-w-kamau-bell-and-kate-schatz\">Do the Work: An Anti-Racist Activity Book\u003c/a>\u003c/i>, written with W. Kamau Bell, Schatz comes at this project with real feminist bona fides.\u003c/p>\n\u003cp>Her historical novel is both educational and a form of wish-fulfillment. 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Is she still a good girl? Ruined? Unfit? Can she simply return to her previous plans when the pregnancy ends?\u003c/p>\n\u003cp>She writes about all of this in her journal, but we’re not privy to those sentences. Instead, we get clipped, euphemistic letters to and from home. Schatz shows how silence and secrecy, especially within a family, allow people to make the same mistakes generation after generation.\u003c/p>\n\u003cp>A dark mystery at the maternity home ultimately unlocks some of Baker’s resolve, with no small amount of inspiration from \u003ci>Jane Eyre\u003c/i>. Less satisfyingly, Schatz lets Baker remain indecisive about motherhood until the very end of the novel. It’s an approach that doesn’t quite fit with the intelligent, sensitive character we’ve come to know. Baker’s uncertainty feels more like the author not wanting to impose a decision onto this teenage everygirl.\u003c/p>\n\u003cp>We would expect teenagers in 2026 to have more resources at their disposal, but political and societal strictures are working very hard in the present to dissolve reproductive rights. Not long ago, we might have read \u003ci>Where the Girls Were\u003c/i> and remarked on how far we had come. Now, we will read \u003ci>Where the Girls Were\u003c/i> and wonder just how much of our future will resemble the darkest periods of our past.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Kate Schatz’s ‘\u003ca href=\"https://www.penguinrandomhouse.com/books/773252/where-the-girls-were-by-kate-schatz/\">Where the Girls Were\u003c/a>’ is out from The Dial Press on March 3, 2026. 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"content": "\u003cdiv class=\"post-body\">\u003cp>The novel captures the widening gap between the suburban formality of Baker’s world and the social upheavals happening on the nightly news. Baker drafts an anti-war editorial; students riot in Paris; RFK is assassinated at the Ambassador Hotel. But at home and at \u003ci>the\u003c/i> home, an old-fashioned stiffness prevails — the girls obey a dress code and don fake wedding rings for their trips outside. (Baker is blocked from leaving the premises because her mother fears she’ll be recognized.)\u003c/p>\n\u003cp>Much of \u003ci>Where the Girls Were\u003c/i> is about Baker finding the language to describe her situation to herself. Is she still a good girl? Ruined? Unfit? Can she simply return to her previous plans when the pregnancy ends?\u003c/p>\n\u003cp>She writes about all of this in her journal, but we’re not privy to those sentences. Instead, we get clipped, euphemistic letters to and from home. Schatz shows how silence and secrecy, especially within a family, allow people to make the same mistakes generation after generation.\u003c/p>\n\u003cp>A dark mystery at the maternity home ultimately unlocks some of Baker’s resolve, with no small amount of inspiration from \u003ci>Jane Eyre\u003c/i>. Less satisfyingly, Schatz lets Baker remain indecisive about motherhood until the very end of the novel. It’s an approach that doesn’t quite fit with the intelligent, sensitive character we’ve come to know. Baker’s uncertainty feels more like the author not wanting to impose a decision onto this teenage everygirl.\u003c/p>\n\u003cp>We would expect teenagers in 2026 to have more resources at their disposal, but political and societal strictures are working very hard in the present to dissolve reproductive rights. Not long ago, we might have read \u003ci>Where the Girls Were\u003c/i> and remarked on how far we had come. Now, we will read \u003ci>Where the Girls Were\u003c/i> and wonder just how much of our future will resemble the darkest periods of our past.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Kate Schatz’s ‘\u003ca href=\"https://www.penguinrandomhouse.com/books/773252/where-the-girls-were-by-kate-schatz/\">Where the Girls Were\u003c/a>’ is out from The Dial Press on March 3, 2026. Schatz will be in conversation with Caro de Robertis on March 3, 7–9 p.m. at Booksmith (1727 Haight St., San Francisco), with \u003ca href=\"https://www.kateschatz.com/events\">additional events\u003c/a> in Santa Cruz and Alameda.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 2018, \u003ca href=\"https://www.instagram.com/qoydill/\">Q’oy Dill\u003c/a> left San Francisco and took their imagination and ambition to New York City. After working as a stylist in the dynamic fashion capital, they’re back in the Bay, bringing home some “New York flavor” with them.\u003c/p>\n\u003cp>Dill is making their debut as a designer at \u003ca href=\"https://www.instagram.com/letsjussvibe/?hl=en\">Jus Vibe\u003c/a>’s \u003ca href=\"https://posh.vip/e/homecoming-fashion-show\">Homecoming Fashion Show\u003c/a> on Feb. 20 at 2201 Poplar Street in West Oakland.\u003c/p>\n\u003cp>“I just really want people to view it and take away the playfulness of it all,” Dill says of their collection. “The playfulness of just being a human and that it’s actually OK to wear colors.” [aside postid='arts_13986545']\u003c/p>\n\u003cp>Founded by Morgan Lewis a year ago, Jus Vibe was created as a space for Black and brown communities to connect. The concept for the fashion show took shape when Lewis met designer Erynn Lynn Ruiz through one of their events and brought her on as a co-curator.\u003c/p>\n\u003cp>Inspired by homecoming celebrations at historically Black colleges and universities, Lewis and Ruiz wanted to replicate that community feel in the Bay Area during Black History Month. The event will feature a runway show with four Black designers, plus drinks, light bites, artist vendors and live music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We are going to be talking about Black excellence and what that means in our community as a whole,” Ruiz said. “Morgan and I are hoping that at the end of this event, you’ll learn something new about the Black diaspora … and what it means to honor and cherish your ancestors.”\u003c/p>\n\u003cfigure id=\"attachment_13986842\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986842\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-scaled.jpg\" alt=\"A group of Black women in an audience clap. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A Jus Vibe event at FOB Kitchen in Oakland on Wednesday, Feb. 19, 2025. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For their debut, Dill will focus on hats, an intergenerational project with their aunt, who Dill would often see knitting and crocheting when they were growing up. Their work experiments with height, structure and bright colors, creating a strong, noticeable presence atop the head. The hats augment the wearer’s silhouette to challenge assumptions about race and gender.\u003c/p>\n\u003cp>“A lot of my work is rooted in examining how clothing is a tool used to transcend or evoke a racialized experience,” Dill says.\u003c/p>\n\u003cp>They plan to style each hat with clothes from the models’ own closets to emphasize their individuality.\u003c/p>\n\u003cp>“I’m also just making sure that [the models] feel good,” Dill says. “For me, a big part of it is being able to play with this idea of what it means to be a queer Black person existing in America.”\u003c/p>\n\u003cfigure id=\"attachment_13986844\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986844\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-2000x3000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Q’oy Dill’s hat designs play with exaggerated silhouettes that challenge assumptions about the wearer’s race and gender. \u003ccite>(Angie Paola)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside Dill, Oakland native Marc Allen will also showcase his work at the Homecoming Fashion Show. Deemed the “most authentic designer” in Jus Vibe’s senior superlative-style distinction, his deconstructed style stems from the instinctual drive to create whenever inspiration strikes.\u003c/p>\n\u003cp>“That fuel is emotional,” Allen says.\u003c/p>\n\u003cp>Growing up in an artistic household surrounded by music and dance, Allen carved his own way into the visual arts. Photography, graphic design and painting became his media of choice, and clothing soon followed.\u003c/p>\n\u003cfigure id=\"attachment_13986865\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-2000x3000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Designs by Marc Allen in the Limitless Fashion Show in Oakland in 2025. \u003ccite>(Courtesy of Marc Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those around Allen describe his work as a futuristic approach to the Black experience. While this framing isn’t intentional on Allen’s part, his process reflects it. As a designer who doesn’t sew, he reworks garments into something new.\u003c/p>\n\u003cp>Allen utilizes grommets, safety pins and fabric paint to create raw, abstract designs. His own personal style consists of clothing that he’s altered in some way, reflecting the same improvisational approach he brings to his collection.\u003c/p>\n\u003cp>“I can wear my art around people and into events, but you can’t really carry around a canvas,” Allen said. “I think that the best part of fashion is the fact that I can express myself through my clothing, something I wear every day.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://posh.vip/e/homecoming-fashion-show\">Jus Vibe’s Homecoming Fashion Show\u003c/a> will take place on Feb. 20 at 2201 Poplar Street, Oakland. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2018, \u003ca href=\"https://www.instagram.com/qoydill/\">Q’oy Dill\u003c/a> left San Francisco and took their imagination and ambition to New York City. After working as a stylist in the dynamic fashion capital, they’re back in the Bay, bringing home some “New York flavor” with them.\u003c/p>\n\u003cp>Dill is making their debut as a designer at \u003ca href=\"https://www.instagram.com/letsjussvibe/?hl=en\">Jus Vibe\u003c/a>’s \u003ca href=\"https://posh.vip/e/homecoming-fashion-show\">Homecoming Fashion Show\u003c/a> on Feb. 20 at 2201 Poplar Street in West Oakland.\u003c/p>\n\u003cp>“I just really want people to view it and take away the playfulness of it all,” Dill says of their collection. “The playfulness of just being a human and that it’s actually OK to wear colors.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Founded by Morgan Lewis a year ago, Jus Vibe was created as a space for Black and brown communities to connect. The concept for the fashion show took shape when Lewis met designer Erynn Lynn Ruiz through one of their events and brought her on as a co-curator.\u003c/p>\n\u003cp>Inspired by homecoming celebrations at historically Black colleges and universities, Lewis and Ruiz wanted to replicate that community feel in the Bay Area during Black History Month. The event will feature a runway show with four Black designers, plus drinks, light bites, artist vendors and live music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are going to be talking about Black excellence and what that means in our community as a whole,” Ruiz said. “Morgan and I are hoping that at the end of this event, you’ll learn something new about the Black diaspora … and what it means to honor and cherish your ancestors.”\u003c/p>\n\u003cfigure id=\"attachment_13986842\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986842\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-scaled.jpg\" alt=\"A group of Black women in an audience clap. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/BWFC_Amaya-Edwards-67-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A Jus Vibe event at FOB Kitchen in Oakland on Wednesday, Feb. 19, 2025. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For their debut, Dill will focus on hats, an intergenerational project with their aunt, who Dill would often see knitting and crocheting when they were growing up. Their work experiments with height, structure and bright colors, creating a strong, noticeable presence atop the head. The hats augment the wearer’s silhouette to challenge assumptions about race and gender.\u003c/p>\n\u003cp>“A lot of my work is rooted in examining how clothing is a tool used to transcend or evoke a racialized experience,” Dill says.\u003c/p>\n\u003cp>They plan to style each hat with clothes from the models’ own closets to emphasize their individuality.\u003c/p>\n\u003cp>“I’m also just making sure that [the models] feel good,” Dill says. “For me, a big part of it is being able to play with this idea of what it means to be a queer Black person existing in America.”\u003c/p>\n\u003cfigure id=\"attachment_13986844\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986844\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-2000x3000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/P1173997-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Q’oy Dill’s hat designs play with exaggerated silhouettes that challenge assumptions about the wearer’s race and gender. \u003ccite>(Angie Paola)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside Dill, Oakland native Marc Allen will also showcase his work at the Homecoming Fashion Show. Deemed the “most authentic designer” in Jus Vibe’s senior superlative-style distinction, his deconstructed style stems from the instinctual drive to create whenever inspiration strikes.\u003c/p>\n\u003cp>“That fuel is emotional,” Allen says.\u003c/p>\n\u003cp>Growing up in an artistic household surrounded by music and dance, Allen carved his own way into the visual arts. Photography, graphic design and painting became his media of choice, and clothing soon followed.\u003c/p>\n\u003cfigure id=\"attachment_13986865\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-2000x3000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Three-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Designs by Marc Allen in the Limitless Fashion Show in Oakland in 2025. \u003ccite>(Courtesy of Marc Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those around Allen describe his work as a futuristic approach to the Black experience. While this framing isn’t intentional on Allen’s part, his process reflects it. As a designer who doesn’t sew, he reworks garments into something new.\u003c/p>\n\u003cp>Allen utilizes grommets, safety pins and fabric paint to create raw, abstract designs. His own personal style consists of clothing that he’s altered in some way, reflecting the same improvisational approach he brings to his collection.\u003c/p>\n\u003cp>“I can wear my art around people and into events, but you can’t really carry around a canvas,” Allen said. “I think that the best part of fashion is the fact that I can express myself through my clothing, something I wear every day.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://posh.vip/e/homecoming-fashion-show\">Jus Vibe’s Homecoming Fashion Show\u003c/a> will take place on Feb. 20 at 2201 Poplar Street, Oakland. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tracing Her Black Ancestry, Trina Michelle Robinson Apprehends the Past",
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"content": "\u003cp>\u003ca href=\"https://www.trinamrobinson.com/\">Trina Michelle Robinson\u003c/a> is trying to talk to ghosts. For 10 years, the San Francisco-based artist has been on a journey to uncover and share the stories of her ancestors and the legacies of Black migration. She hasn’t always succeeded – and that’s exactly what makes her work powerful.\u003c/p>\n\u003cp>Robinson’s two-venue exhibition \u003ci>Open Your Eyes to Water\u003c/i>, on view through May 16 at\u003ca href=\"https://rootdivision.org/exhibition/trina-michelle-robinson-open-your-eyes-to-water/\"> 500 Capp Street\u003c/a> in the Mission, and\u003ca href=\"https://500cappstreet.org/current-exhibitions/trina-m-robinson-open-your-eyes-to-water/\"> Root Division\u003c/a>, South of Market, contains work from the past decade, spanning multiple mediums, continents and histories. All of Robinson’s work begins with archival research, mining the records of her ancestors’ lives in Kentucky, Ohio and California. The results include video and installation as a form of embodied history, photography and printmaking as a way of engaging directly with the archive.\u003c/p>\n\u003cp>At 500 Capp Street,\u003ca href=\"https://www.kqed.org/arts/11243184/david-irelands-cabinet-of-curiosities-opens-its-mission-district-doors\"> former home\u003c/a> of conceptual artist\u003ca href=\"https://www.sfmoma.org/artist/David_Ireland/\"> David Ireland\u003c/a> (1930-2009), Robinson has staged three installations. \u003ci>Encoded\u003c/i> (2022), a three-channel video piece in the house’s garage, opens with a long shot of the Ohio River before following Robinson’s own travels to Senegal, seeking vestiges of what her ancestors might have experienced. The film ends on the underwater memorial for the\u003ca href=\"https://www.melfisher.org/copy-of-henrietta-marie-1700\"> Henrietta Marie\u003c/a>, a British slave ship that sank off the Florida Straits in 1700, with Robinson’s sparse voiceover documenting the trip.\u003c/p>\n\u003cfigure id=\"attachment_13986892\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_500Capp-13.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13986892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_500Capp-13.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_500Capp-13-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_500Capp-13-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_500Capp-13-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Trina Michelle Robinson’s ‘Liberation Through Redaction’ (2022) at 500 Capp Street in San Francisco. \u003ccite>(Hunter Ridenour)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 500 Capp Street’s archive room, Robinson’s own archival materials showcase the historiography essential to her practice while noting a glaring omission from \u003ca href=\"https://missionlocal.org/2016/01/qa-understanding-david-irelands-art/\">Ireland’s\u003c/a>.\u003c/p>\n\u003cp>“Marginalized voices weren’t always celebrated in certain parts of David’s life,” Robinson tells KQED. “If you look at his book collection, especially in relation to Africa, many are about people going to Africa for adventure. I’m welcoming the narrative David left out, fully focused on the Black experience.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13922116']Robinson also leverages omission as a rhetorical tool for empowerment. \u003ci>Liberation Through Redaction \u003c/i>(2022), an immersive, multi-media installation occupying the home’s upstairs parlor, constructed for Capp Street by Dan Ake and Andy Vogt, features a plot of soil filled with flora – goldenrod representing Kentucky, pampas grass representing California – and a pedestal holding an intaglio print of the 1835 will of a white individual who enslaved Robinson’s ancestors. The text has been redacted with red thread so that only references to the freedom of Robinson’s ancestors remain legible. The piece is accompanied by a soundscape of field recordings from Berea, Kentucky; Ripley, Ohio; and Yokuts Valley, California.\u003c/p>\n\u003cp>The installation creates a somatic experience, playing on the duality between presence and absence to convey the individual human narrative often lost in historicizing. “I want to create an immersive space that triggers a memory that might be deep inside someone, that they’re able to unlock by entering that space,” Robinson says.\u003c/p>\n\u003cfigure id=\"attachment_13986893\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-39.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-39.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-39-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-39-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-39-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Trine Michelle Robinson’s ‘Elegy for Nancy’ (2022) at Root Division in San Francisco. \u003ccite>(Hunter Ridenour)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Root Division, \u003ci>Elegy for Nancy\u003c/i> (2022) is dedicated to Robinson’s most distant known ancestor, who was born around 1770, likely in Virginia, before migrating to Kentucky where she was enslaved.\u003c/p>\n\u003cp>Footage of Robinson wading into the Sacramento River is interspersed with shots of the Ohio River, which runs through both West Virginia and Kentucky, as well as archival footage of a 1920s African-American baptism, scenes from the Ogun River in Nigeria and text from Lucille Clifton’s poem “Blessing the Boats.” (The title of the exhibition, \u003ci>Open Your Eyes to Water\u003c/i>, is taken from the same poem.) Continuing the matrilineage into the present, an altar holds contributions by an intergenerational group of Bay Area Black women artists, including Lynse Cooper, Chloe King and Ashley Spencer. You can feel Nancy’s presence, if only in relief, in the attempt to make her story and legacy visible.\u003c/p>\n\u003cp>A series of intaglio prints published by Oakland’s\u003ca href=\"https://www.moonlightpress.co/\"> Moonlight Press\u003c/a>, titled \u003ci>Memory Index: Imagined Family Heirlooms\u003c/i> (2024-2026), show a grouping of speculative family heirlooms – a knife, a mourning bonnet, a fan, a pinecone. The title of each print is borrowed from an archival document pertaining to each ancestor, vivid with poetic imagery like \u003ci>“… beautiful ladies attired in the most magnificent costumes … black lace, ostrich tips” The Appeal, January 20, 1889.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13986895\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD.jpg\" alt=\"\" width=\"2000\" height=\"1191\" class=\"size-full wp-image-13986895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-1536x915.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Trine Michelle Robinson’s ‘Elegy for Nancy’ (2022) at Root Division in San Francisco. \u003ccite>(Hunter Ridenour)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A single, smaller intaglio, \u003ci>Refuge\u003c/i> (2022), is a forest scene showing a patch of land in Kentucky where Robinson’s ancestors were enslaved. Absence is again employed for empowerment: In the archive, the redaction of violence poses a danger of erasing history, while here, the absence of bodies is a reclamation of personhood.\u003c/p>\n\u003cp>The speculative liberties Robinson takes with her archival subjects highlight the difficulty of tracing family history, especially for Black American communities. In her work, however, she has turned the inability to fully apprehend the past from an impediment to the very subject. Like any ghost story, you’re left to ask yourself what’s real and what isn’t. Here, that uncertainty makes space for possibility, a reconciliation with the past in service of the future.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Open Your Eyes to Water’ is on view at\u003c/i>\u003ca href=\"https://500cappstreet.org/current-exhibitions/trina-m-robinson-open-your-eyes-to-water/\"> \u003ci>500 Capp Street\u003c/i>\u003c/a>\u003ci> (San Francisco) and\u003c/i>\u003ca href=\"https://rootdivision.org/exhibition/trina-michelle-robinson-open-your-eyes-to-water/\"> \u003ci>Root Division\u003c/i>\u003c/a>\u003ci> (1131 Mission St., San Francisco) \u003c/i>through May 16, 2026.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.trinamrobinson.com/\">Trina Michelle Robinson\u003c/a> is trying to talk to ghosts. For 10 years, the San Francisco-based artist has been on a journey to uncover and share the stories of her ancestors and the legacies of Black migration. She hasn’t always succeeded – and that’s exactly what makes her work powerful.\u003c/p>\n\u003cp>Robinson’s two-venue exhibition \u003ci>Open Your Eyes to Water\u003c/i>, on view through May 16 at\u003ca href=\"https://rootdivision.org/exhibition/trina-michelle-robinson-open-your-eyes-to-water/\"> 500 Capp Street\u003c/a> in the Mission, and\u003ca href=\"https://500cappstreet.org/current-exhibitions/trina-m-robinson-open-your-eyes-to-water/\"> Root Division\u003c/a>, South of Market, contains work from the past decade, spanning multiple mediums, continents and histories. All of Robinson’s work begins with archival research, mining the records of her ancestors’ lives in Kentucky, Ohio and California. The results include video and installation as a form of embodied history, photography and printmaking as a way of engaging directly with the archive.\u003c/p>\n\u003cp>At 500 Capp Street,\u003ca href=\"https://www.kqed.org/arts/11243184/david-irelands-cabinet-of-curiosities-opens-its-mission-district-doors\"> former home\u003c/a> of conceptual artist\u003ca href=\"https://www.sfmoma.org/artist/David_Ireland/\"> David Ireland\u003c/a> (1930-2009), Robinson has staged three installations. \u003ci>Encoded\u003c/i> (2022), a three-channel video piece in the house’s garage, opens with a long shot of the Ohio River before following Robinson’s own travels to Senegal, seeking vestiges of what her ancestors might have experienced. The film ends on the underwater memorial for the\u003ca href=\"https://www.melfisher.org/copy-of-henrietta-marie-1700\"> Henrietta Marie\u003c/a>, a British slave ship that sank off the Florida Straits in 1700, with Robinson’s sparse voiceover documenting the trip.\u003c/p>\n\u003cfigure id=\"attachment_13986892\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_500Capp-13.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13986892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_500Capp-13.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_500Capp-13-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_500Capp-13-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_500Capp-13-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Trina Michelle Robinson’s ‘Liberation Through Redaction’ (2022) at 500 Capp Street in San Francisco. \u003ccite>(Hunter Ridenour)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 500 Capp Street’s archive room, Robinson’s own archival materials showcase the historiography essential to her practice while noting a glaring omission from \u003ca href=\"https://missionlocal.org/2016/01/qa-understanding-david-irelands-art/\">Ireland’s\u003c/a>.\u003c/p>\n\u003cp>“Marginalized voices weren’t always celebrated in certain parts of David’s life,” Robinson tells KQED. “If you look at his book collection, especially in relation to Africa, many are about people going to Africa for adventure. I’m welcoming the narrative David left out, fully focused on the Black experience.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Robinson also leverages omission as a rhetorical tool for empowerment. \u003ci>Liberation Through Redaction \u003c/i>(2022), an immersive, multi-media installation occupying the home’s upstairs parlor, constructed for Capp Street by Dan Ake and Andy Vogt, features a plot of soil filled with flora – goldenrod representing Kentucky, pampas grass representing California – and a pedestal holding an intaglio print of the 1835 will of a white individual who enslaved Robinson’s ancestors. The text has been redacted with red thread so that only references to the freedom of Robinson’s ancestors remain legible. The piece is accompanied by a soundscape of field recordings from Berea, Kentucky; Ripley, Ohio; and Yokuts Valley, California.\u003c/p>\n\u003cp>The installation creates a somatic experience, playing on the duality between presence and absence to convey the individual human narrative often lost in historicizing. “I want to create an immersive space that triggers a memory that might be deep inside someone, that they’re able to unlock by entering that space,” Robinson says.\u003c/p>\n\u003cfigure id=\"attachment_13986893\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-39.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-39.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-39-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-39-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-39-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Trine Michelle Robinson’s ‘Elegy for Nancy’ (2022) at Root Division in San Francisco. \u003ccite>(Hunter Ridenour)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Root Division, \u003ci>Elegy for Nancy\u003c/i> (2022) is dedicated to Robinson’s most distant known ancestor, who was born around 1770, likely in Virginia, before migrating to Kentucky where she was enslaved.\u003c/p>\n\u003cp>Footage of Robinson wading into the Sacramento River is interspersed with shots of the Ohio River, which runs through both West Virginia and Kentucky, as well as archival footage of a 1920s African-American baptism, scenes from the Ogun River in Nigeria and text from Lucille Clifton’s poem “Blessing the Boats.” (The title of the exhibition, \u003ci>Open Your Eyes to Water\u003c/i>, is taken from the same poem.) Continuing the matrilineage into the present, an altar holds contributions by an intergenerational group of Bay Area Black women artists, including Lynse Cooper, Chloe King and Ashley Spencer. You can feel Nancy’s presence, if only in relief, in the attempt to make her story and legacy visible.\u003c/p>\n\u003cp>A series of intaglio prints published by Oakland’s\u003ca href=\"https://www.moonlightpress.co/\"> Moonlight Press\u003c/a>, titled \u003ci>Memory Index: Imagined Family Heirlooms\u003c/i> (2024-2026), show a grouping of speculative family heirlooms – a knife, a mourning bonnet, a fan, a pinecone. The title of each print is borrowed from an archival document pertaining to each ancestor, vivid with poetic imagery like \u003ci>“… beautiful ladies attired in the most magnificent costumes … black lace, ostrich tips” The Appeal, January 20, 1889.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13986895\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD.jpg\" alt=\"\" width=\"2000\" height=\"1191\" class=\"size-full wp-image-13986895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Trina_RD-1536x915.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Trine Michelle Robinson’s ‘Elegy for Nancy’ (2022) at Root Division in San Francisco. \u003ccite>(Hunter Ridenour)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A single, smaller intaglio, \u003ci>Refuge\u003c/i> (2022), is a forest scene showing a patch of land in Kentucky where Robinson’s ancestors were enslaved. Absence is again employed for empowerment: In the archive, the redaction of violence poses a danger of erasing history, while here, the absence of bodies is a reclamation of personhood.\u003c/p>\n\u003cp>The speculative liberties Robinson takes with her archival subjects highlight the difficulty of tracing family history, especially for Black American communities. In her work, however, she has turned the inability to fully apprehend the past from an impediment to the very subject. Like any ghost story, you’re left to ask yourself what’s real and what isn’t. Here, that uncertainty makes space for possibility, a reconciliation with the past in service of the future.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Open Your Eyes to Water’ is on view at\u003c/i>\u003ca href=\"https://500cappstreet.org/current-exhibitions/trina-m-robinson-open-your-eyes-to-water/\"> \u003ci>500 Capp Street\u003c/i>\u003c/a>\u003ci> (San Francisco) and\u003c/i>\u003ca href=\"https://rootdivision.org/exhibition/trina-michelle-robinson-open-your-eyes-to-water/\"> \u003ci>Root Division\u003c/i>\u003c/a>\u003ci> (1131 Mission St., San Francisco) \u003c/i>through May 16, 2026.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "five-bay-area-artists-not-to-miss-at-noise-pop-2026",
"title": "Five Bay Area Artists Not to Miss at Noise Pop 2026",
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"content": "\u003cp>This week, for the 33rd year in a row, \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> will fill the Bay Area’s clubs, art spaces, concert halls and dive bars with live music, bringing together top-tier local artists with cult-favorite touring acts. The \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">homegrown festival\u003c/a> runs Feb. 19–March 1, and features over 150 bands at 20 different venues, with Tortoise, Stephen Malkmus, Wisp and Cupcakke at the top of the lineup.\u003c/p>\n\u003cp>Unlike weekend-long fests with hefty ticket prices, Noise Pop is what you make it. Fans can purchase affordable individual tickets to one-off shows, or choose to go all in with badges that allow access to multiple concerts throughout each night.\u003c/p>\n\u003cp>The festival’s producers also work with the city to put on \u003ca href=\"https://sfmusicweek.org/\">San Francisco Music Week\u003c/a>, running Feb. 23–March 1. It overlaps with Noise Pop and features concerts as well as an industry summit, talks and workshops.\u003c/p>\n\u003cp>During a year when San Francisco is losing two beloved independent venues — the \u003ca href=\"https://www.coyotemedia.org/san-francisco-club-bottom-of-the-hill-to-close-at-the-end-of-2026/\">Bottom of the Hill\u003c/a> and \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-punk-bar-parkside-close-21322202.php\">Thee Parkside\u003c/a> — it’s as important as ever to plug in and support your local scene. Below you’ll find five Bay Area acts not to miss at the festival.\u003c/p>\n\u003cp>https://youtu.be/LfRK51Rv7x4?si=afFZixjPdK7kc43Q\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/publicsf/events/giraffage-chrome-sparks-dj-presented-by-noise-pop-festival-public-works-165121\">Giraffage\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 21, 9:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Public Works, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Giraffage emerged a decade ago with head-in-the-cloud beats evoking a hazy daydream. His most recent music (especially in his duo with Ryan Hemsworth, Bodysync) is much less cerebral. The San Jose-born electronic musician goes in on feel-good, four-on-the-floor beats that vibrate with the adrenaline-fueled energy of a ’90s jock jam. Stretching and hydrating is a must before Giraffage’s sweat-inducing set at Public Works during Noise Pop’s first weekend.\u003c/p>\n\u003cp>https://youtu.be/TOVGTxqUd00?si=MEKHEg8dk76jDW_f\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/lyrics-born-171457\">Lyrics Born\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 8 p.m.\u003c/em>\u003cbr>\n\u003cem>Gray Area, San Francisco\u003c/em>\u003c/p>\n\u003cp>Over his 30-plus-year career, Lyrics Born has cemented himself as a laid-back wordsmith whose songs are as likely to get the dance floor moving as they are to hit listeners in the heart with pieces of life wisdom. His solo debut \u003ci>Later That Day\u003c/i> made \u003cem>Rolling Stone\u003c/em>’s list of the \u003ca href=\"https://www.rollingstone.com/music/music-lists/best-hip-hop-albums-1323916/\">200 Greatest Hip-Hop Albums of All Time\u003c/a>; he’s put out no shortage of funk-drenched bangers since, most recently his 2024 album \u003ci>Goodbye, Sticky Rice\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/h0-k7vW9Xek?si=nAUpg42z9I3yvfoZ\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theuctheatre.org/shows/clipping-27-feb\">clipping.\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 7 p.m.\u003cbr>\nUC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Before he starred in \u003ci>Hamilton\u003c/i> and \u003ci>Blindspotting\u003c/i>, Daveed Diggs came up in clipping., a hip-hop trio that pairs his tongue-twisting lyricism with jagged, experimental production by William Hutson and Jonathan Snipes. clipping.’s 2025 album \u003ci>Dead Channel Sky\u003c/i> pulses with the intensity of a warehouse rave, with industrial beats that match Diggs’ careening verses. This is an album for letting go, moving your body and, who knows, maybe even hopping into the mosh pit.\u003c/p>\n\u003cp>https://youtu.be/L8zILRiE5wk?si=tlQLa7XnoZlQd0WK\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/jay-som-168945\">Jay Som\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 6:30 p.m.\u003cbr>\nGray Area, San Francisco \u003c/em>\u003c/p>\n\u003cp>Jay Som began writing songs in her suburban East Bay bedroom, and her take on indie rock — punchy yet heartrending, catchy yet off-kilter enough to make you pause and ponder — has since caught the ear of big names like Paramore’s Hayley Williams, who features on Jay Som’s 2025 album \u003ci>Belong\u003c/i>. It’s Jay Som’s first release in six years, and Noise Pop will mark a welcome return to her hometown stage.\u003c/p>\n\u003cp>https://youtu.be/7gxHJnNYTAI?si=gKPTln8IXN2mDWzx\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/hugo-de-la-lune/\">Hugo De La Lune\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 7 and 8:30 p.m.\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hugo De La Lune calls themself African Dracula, and indeed, it’s not hard to imagine their haunting, sultry vocals echoing from a dark piano bar in \u003ci>Interview with a Vampire\u003c/i>. The emerging singer-songwriter has an arresting vocal range befitting of their high-drama storytelling, which is bound to captivate listeners during their two back-to-back shows at SFJAZZ.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, for the 33rd year in a row, \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> will fill the Bay Area’s clubs, art spaces, concert halls and dive bars with live music, bringing together top-tier local artists with cult-favorite touring acts. The \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">homegrown festival\u003c/a> runs Feb. 19–March 1, and features over 150 bands at 20 different venues, with Tortoise, Stephen Malkmus, Wisp and Cupcakke at the top of the lineup.\u003c/p>\n\u003cp>Unlike weekend-long fests with hefty ticket prices, Noise Pop is what you make it. Fans can purchase affordable individual tickets to one-off shows, or choose to go all in with badges that allow access to multiple concerts throughout each night.\u003c/p>\n\u003cp>The festival’s producers also work with the city to put on \u003ca href=\"https://sfmusicweek.org/\">San Francisco Music Week\u003c/a>, running Feb. 23–March 1. It overlaps with Noise Pop and features concerts as well as an industry summit, talks and workshops.\u003c/p>\n\u003cp>During a year when San Francisco is losing two beloved independent venues — the \u003ca href=\"https://www.coyotemedia.org/san-francisco-club-bottom-of-the-hill-to-close-at-the-end-of-2026/\">Bottom of the Hill\u003c/a> and \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-punk-bar-parkside-close-21322202.php\">Thee Parkside\u003c/a> — it’s as important as ever to plug in and support your local scene. Below you’ll find five Bay Area acts not to miss at the festival.\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/LfRK51Rv7x4'\n title='//www.youtube.com/embed/LfRK51Rv7x4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/publicsf/events/giraffage-chrome-sparks-dj-presented-by-noise-pop-festival-public-works-165121\">Giraffage\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 21, 9:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Public Works, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Giraffage emerged a decade ago with head-in-the-cloud beats evoking a hazy daydream. His most recent music (especially in his duo with Ryan Hemsworth, Bodysync) is much less cerebral. The San Jose-born electronic musician goes in on feel-good, four-on-the-floor beats that vibrate with the adrenaline-fueled energy of a ’90s jock jam. Stretching and hydrating is a must before Giraffage’s sweat-inducing set at Public Works during Noise Pop’s first weekend.\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/TOVGTxqUd00'\n title='//www.youtube.com/embed/TOVGTxqUd00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/lyrics-born-171457\">Lyrics Born\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 8 p.m.\u003c/em>\u003cbr>\n\u003cem>Gray Area, San Francisco\u003c/em>\u003c/p>\n\u003cp>Over his 30-plus-year career, Lyrics Born has cemented himself as a laid-back wordsmith whose songs are as likely to get the dance floor moving as they are to hit listeners in the heart with pieces of life wisdom. His solo debut \u003ci>Later That Day\u003c/i> made \u003cem>Rolling Stone\u003c/em>’s list of the \u003ca href=\"https://www.rollingstone.com/music/music-lists/best-hip-hop-albums-1323916/\">200 Greatest Hip-Hop Albums of All Time\u003c/a>; he’s put out no shortage of funk-drenched bangers since, most recently his 2024 album \u003ci>Goodbye, Sticky Rice\u003c/i>.\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/h0-k7vW9Xek'\n title='//www.youtube.com/embed/h0-k7vW9Xek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.theuctheatre.org/shows/clipping-27-feb\">clipping.\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 7 p.m.\u003cbr>\nUC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Before he starred in \u003ci>Hamilton\u003c/i> and \u003ci>Blindspotting\u003c/i>, Daveed Diggs came up in clipping., a hip-hop trio that pairs his tongue-twisting lyricism with jagged, experimental production by William Hutson and Jonathan Snipes. clipping.’s 2025 album \u003ci>Dead Channel Sky\u003c/i> pulses with the intensity of a warehouse rave, with industrial beats that match Diggs’ careening verses. This is an album for letting go, moving your body and, who knows, maybe even hopping into the mosh pit.\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/L8zILRiE5wk'\n title='//www.youtube.com/embed/L8zILRiE5wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/jay-som-168945\">Jay Som\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 6:30 p.m.\u003cbr>\nGray Area, San Francisco \u003c/em>\u003c/p>\n\u003cp>Jay Som began writing songs in her suburban East Bay bedroom, and her take on indie rock — punchy yet heartrending, catchy yet off-kilter enough to make you pause and ponder — has since caught the ear of big names like Paramore’s Hayley Williams, who features on Jay Som’s 2025 album \u003ci>Belong\u003c/i>. It’s Jay Som’s first release in six years, and Noise Pop will mark a welcome return to her hometown stage.\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/7gxHJnNYTAI'\n title='//www.youtube.com/embed/7gxHJnNYTAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/hugo-de-la-lune/\">Hugo De La Lune\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 7 and 8:30 p.m.\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hugo De La Lune calls themself African Dracula, and indeed, it’s not hard to imagine their haunting, sultry vocals echoing from a dark piano bar in \u003ci>Interview with a Vampire\u003c/i>. The emerging singer-songwriter has an arresting vocal range befitting of their high-drama storytelling, which is bound to captivate listeners during their two back-to-back shows at SFJAZZ.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "yosimar-reyes-play-no-llegamos-aqui-solos-ice-raids-east-san-jose",
"title": "While ICE Raids Loom, ‘No Llegamos Aquí Solos’ Is for Immigrants, by Immigrants",
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"headTitle": "While ICE Raids Loom, ‘No Llegamos Aquí Solos’ Is for Immigrants, by Immigrants | KQED",
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"content": "\u003cp>\u003ci>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/i>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003ci>Click here to subscribe\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>When poet \u003ca href=\"https://www.kqed.org/arts/13904861/abuela-mexican-kitchen-undocumented-workers-san-jose\">Yosimar Reyes\u003c/a> started writing the play \u003ci>No Llegamos Aquí Solos\u003c/i> in early 2025, he could not have pictured the extent of the Trump administration’s violent crackdown on undocumented immigrants. But fear and injustice is all too familiar for Reyes, 37, who came to the United States from Mexico when he was three years old and lived for many years without authorization.\u003c/p>\n\u003cp>Decades of storytellers’ efforts to humanize undocumented people have evidently failed to convince people that immigrants are people too, Reyes tells KQED. So when Teatro Visión tapped Reyes to write a play, he focused on speaking directly to immigrants and celebrating them.\u003c/p>\n\u003cp>[aside postID='arts_13904861']\u003ci>No Llegamos Aquí Solos\u003c/i> (which translates as “we did not come here alone”) tells the stories of characters living in an East San José apartment building in the lead-up to a raid by immigration enforcement. “I wanted to showcase the different characters that I grew up with, and write about the people that inspired me to become a poet,” says Reyes, who is a DACA recipient and serves as Santa Clara County’s Poet Laureate.\u003c/p>\n\u003cp>\u003ci>No Llegamos Aquí Solos \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">runs through Feb. 22\u003c/a> at Mexican Heritage Plaza Theater in San José. KQED’s Blanca Torres talked with Reyes about his experience writing the play and seeing it come to the stage in this current moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>This conversation was edited for length and clarity. \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13986728\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg\" alt=\"\" width=\"2000\" height=\"1384\" class=\"size-full wp-image-13986728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘No Llegamos Aquí Solos.’ \u003ccite>(Ugho Badú)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Blanca Torres: Can you tell me about some characters in this play that you created based on your life? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Yosimar Reyes\u003c/b>: The script follows a series of neighbors. They’re undocumented, but they all have a different issue that’s impacting them. Oftentimes, plays or stories about undocumented people are meant to educate people. What’s more important is to hold a mirror to undocumented people. There’s a scene where a group of day laborers are all living in one apartment. There’s another character who sells food in the courtyard. It was important to also showcase the way in which characters contribute back to the community as well.\u003c/p>\n\u003cp>\u003cb>How do you feel about the stage production of the play coming at this particular moment? \u003c/b>\u003c/p>\n\u003cp>I’ve always been keenly aware of the way undocumented people have been represented. That has been the looming theme in a lot of my work. My grandmother, who I was a caregiver to, passed away in November 2024. I had advanced parole, which allows me to leave my country, so I was able to transport her remains back to Mexico. That was like an awakening. The story of so many undocumented immigrants that return home is either they are deported or in a coffin. I don’t necessarily want that to be my fate.\u003c/p>\n\u003cp>The character Ignacio, throughout the play, is bombarded with all these ICE raids that he’s seeing. And because he’s so focused on preparing, he forgets to enjoy the little moments or the small things that are happening. The play juxtaposes the madness of living under this constant threat of deportation with \u003ci>how do undocumented people actually live full lives\u003c/i>?\u003c/p>\n\u003cfigure id=\"attachment_13904928\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg\" alt=\"An elderly Latina woman and her grandson post for a portrait outdoors in their tree-lined backyard.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13904928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes (right) and his grandmother, pictured in East San José in 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So has your thinking about telling the stories of undocumented people changed?\u003c/b>\u003c/p>\n\u003cp>We spent so much time and energy telling undocumented narratives, and it was to no avail, because people are willing to believe that we’re all these negative things. I wanted to write a play that’s unapologetic and is catered to my community. The question that I’m asking undocumented people is: What are the sacred things you lose when you choose to remain here? And how do we start taking care of our mental and spiritual well-being? The reality is that the deportation machine is going to grow and we are going to have to leave. How do we hold on to things that are more sacred than papers?\u003c/p>\n\u003cp>\u003cb>Can you tell more about East San José? Is this a community that people know a lot about? \u003c/b>\u003c/p>\n\u003cp>What happens with San José is we are put under the umbrella of Silicon Valley, right? There’s so much tech. There’s so much innovation. When I was growing up, that was kind of frustrating because I was like, yes, that’s downtown. The East Side is different. There’s multiple families in an apartment. People are living in deplorable housing conditions because we have slumlords. My grandma used to recycle bottles and cans. She used to hustle to pay the rent. We have families that are just trying to stay in this very, very expensive city. I remember growing up constantly feeling like an outsider. Yes, we might not be acknowledged, but we’re contributing to this city. We’re living full lives in this corner of the city.\u003c/p>\n\u003cfigure id=\"attachment_13986729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg\" alt=\"\" width=\"560\" height=\"382\" class=\"size-full wp-image-13986729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_-160x109.jpg 160w\" sizes=\"auto, (max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Yosimar Reyes’ ‘No Llegamos Aquí Solos.’ Says Reyes, ‘Over the play, there’s this looming presence of the ICE raid, but the characters are cracking jokes. They’re making fun of each other. They have dark humor. They’re pushing through it.’ \u003ccite>(Italia Bautista Barcenas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you see, longer-term, coming out of the current immigration enforcement? How would you want things to either change or for the community to change? \u003c/b>\u003c/p>\n\u003cp>This country has always had a turbulent relationship with immigrants and people of color. Look at the history of the Civil Rights movement. There are Americans losing their civil liberties because they want to believe this lie that I’m a criminal. At this moment, undocumented people need to protect their energy. We need to enjoy our families. We need to start saving and dreaming of a different future.\u003c/p>\n\u003cp>For so long we have been told this is the only place we could build, that our home is here, that this is the only place we can make it. And all this effort that I have been putting in for 30-something years to become legal and doing things the right way, and it’s not happening – we are not going to get legalized anytime soon. So can we take time to pause, assess, protect our energy and really start thinking: If I have to go, how do I not lose a sense of myself and know that I have the fortitude to build all of this again?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘No Llegamos Aquí Solos’ runs through Sunday, Feb. 22, at the Mexican Heritage Plaza Theater in San José. \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">\u003ci>Tickets and more information here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"title": "Yosimar Reyes Discusses New Play ‘No Llegamos Aquí Solos,’ Set in East San José | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/i>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003ci>Click here to subscribe\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>When poet \u003ca href=\"https://www.kqed.org/arts/13904861/abuela-mexican-kitchen-undocumented-workers-san-jose\">Yosimar Reyes\u003c/a> started writing the play \u003ci>No Llegamos Aquí Solos\u003c/i> in early 2025, he could not have pictured the extent of the Trump administration’s violent crackdown on undocumented immigrants. But fear and injustice is all too familiar for Reyes, 37, who came to the United States from Mexico when he was three years old and lived for many years without authorization.\u003c/p>\n\u003cp>Decades of storytellers’ efforts to humanize undocumented people have evidently failed to convince people that immigrants are people too, Reyes tells KQED. So when Teatro Visión tapped Reyes to write a play, he focused on speaking directly to immigrants and celebrating them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ci>No Llegamos Aquí Solos\u003c/i> (which translates as “we did not come here alone”) tells the stories of characters living in an East San José apartment building in the lead-up to a raid by immigration enforcement. “I wanted to showcase the different characters that I grew up with, and write about the people that inspired me to become a poet,” says Reyes, who is a DACA recipient and serves as Santa Clara County’s Poet Laureate.\u003c/p>\n\u003cp>\u003ci>No Llegamos Aquí Solos \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">runs through Feb. 22\u003c/a> at Mexican Heritage Plaza Theater in San José. KQED’s Blanca Torres talked with Reyes about his experience writing the play and seeing it come to the stage in this current moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>This conversation was edited for length and clarity. \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13986728\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg\" alt=\"\" width=\"2000\" height=\"1384\" class=\"size-full wp-image-13986728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘No Llegamos Aquí Solos.’ \u003ccite>(Ugho Badú)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Blanca Torres: Can you tell me about some characters in this play that you created based on your life? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Yosimar Reyes\u003c/b>: The script follows a series of neighbors. They’re undocumented, but they all have a different issue that’s impacting them. Oftentimes, plays or stories about undocumented people are meant to educate people. What’s more important is to hold a mirror to undocumented people. There’s a scene where a group of day laborers are all living in one apartment. There’s another character who sells food in the courtyard. It was important to also showcase the way in which characters contribute back to the community as well.\u003c/p>\n\u003cp>\u003cb>How do you feel about the stage production of the play coming at this particular moment? \u003c/b>\u003c/p>\n\u003cp>I’ve always been keenly aware of the way undocumented people have been represented. That has been the looming theme in a lot of my work. My grandmother, who I was a caregiver to, passed away in November 2024. I had advanced parole, which allows me to leave my country, so I was able to transport her remains back to Mexico. That was like an awakening. The story of so many undocumented immigrants that return home is either they are deported or in a coffin. I don’t necessarily want that to be my fate.\u003c/p>\n\u003cp>The character Ignacio, throughout the play, is bombarded with all these ICE raids that he’s seeing. And because he’s so focused on preparing, he forgets to enjoy the little moments or the small things that are happening. The play juxtaposes the madness of living under this constant threat of deportation with \u003ci>how do undocumented people actually live full lives\u003c/i>?\u003c/p>\n\u003cfigure id=\"attachment_13904928\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg\" alt=\"An elderly Latina woman and her grandson post for a portrait outdoors in their tree-lined backyard.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13904928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes (right) and his grandmother, pictured in East San José in 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So has your thinking about telling the stories of undocumented people changed?\u003c/b>\u003c/p>\n\u003cp>We spent so much time and energy telling undocumented narratives, and it was to no avail, because people are willing to believe that we’re all these negative things. I wanted to write a play that’s unapologetic and is catered to my community. The question that I’m asking undocumented people is: What are the sacred things you lose when you choose to remain here? And how do we start taking care of our mental and spiritual well-being? The reality is that the deportation machine is going to grow and we are going to have to leave. How do we hold on to things that are more sacred than papers?\u003c/p>\n\u003cp>\u003cb>Can you tell more about East San José? Is this a community that people know a lot about? \u003c/b>\u003c/p>\n\u003cp>What happens with San José is we are put under the umbrella of Silicon Valley, right? There’s so much tech. There’s so much innovation. When I was growing up, that was kind of frustrating because I was like, yes, that’s downtown. The East Side is different. There’s multiple families in an apartment. People are living in deplorable housing conditions because we have slumlords. My grandma used to recycle bottles and cans. She used to hustle to pay the rent. We have families that are just trying to stay in this very, very expensive city. I remember growing up constantly feeling like an outsider. Yes, we might not be acknowledged, but we’re contributing to this city. We’re living full lives in this corner of the city.\u003c/p>\n\u003cfigure id=\"attachment_13986729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg\" alt=\"\" width=\"560\" height=\"382\" class=\"size-full wp-image-13986729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_-160x109.jpg 160w\" sizes=\"auto, (max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Yosimar Reyes’ ‘No Llegamos Aquí Solos.’ Says Reyes, ‘Over the play, there’s this looming presence of the ICE raid, but the characters are cracking jokes. They’re making fun of each other. They have dark humor. They’re pushing through it.’ \u003ccite>(Italia Bautista Barcenas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you see, longer-term, coming out of the current immigration enforcement? How would you want things to either change or for the community to change? \u003c/b>\u003c/p>\n\u003cp>This country has always had a turbulent relationship with immigrants and people of color. Look at the history of the Civil Rights movement. There are Americans losing their civil liberties because they want to believe this lie that I’m a criminal. At this moment, undocumented people need to protect their energy. We need to enjoy our families. We need to start saving and dreaming of a different future.\u003c/p>\n\u003cp>For so long we have been told this is the only place we could build, that our home is here, that this is the only place we can make it. And all this effort that I have been putting in for 30-something years to become legal and doing things the right way, and it’s not happening – we are not going to get legalized anytime soon. So can we take time to pause, assess, protect our energy and really start thinking: If I have to go, how do I not lose a sense of myself and know that I have the fortitude to build all of this again?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘No Llegamos Aquí Solos’ runs through Sunday, Feb. 22, at the Mexican Heritage Plaza Theater in San José. \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">\u003ci>Tickets and more information here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "afropop-review-art-of-contemporary-africa-gallery-minnesota-st-project-sf",
"title": "San Francisco Gets a Brand New Gallery — With a Focus on African Artists",
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"headTitle": "San Francisco Gets a Brand New Gallery — With a Focus on African Artists | KQED",
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"content": "\u003cfigure id=\"attachment_13986618\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986618 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png\" alt=\"A contemporary painting featuring a Black woman wearing a hair wrap, her back to the viewer, with a white swan draped over her front, its neck resting on her shoulder. She is wearing blue jeans. \" width=\"1667\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-160x192.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-768x921.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1280x1536.png 1280w\" sizes=\"auto, (max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">Ayanda Mabulu, ‘The Load,’ 2025. \u003ccite>(Courtesy of AOCA )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first thing you see when you enter \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (AOCA) — a brand new gallery at the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> — are three stunning, large scale, oil and gold leaf portraits of Black women by Ayanda Mabulu. In his own country, Mabulu is a controversial figure known for unflinching depictions of South Africa’s political landscape, from the apartheid era to the present day. His work often inspires heated discussion, outrage and discomfort.\u003c/p>\n\u003cp>The three pieces Mabulu contributes to AOCA’s inaugural exhibition \u003cem>Afropop\u003c/em>, however, are unexpectedly serene. \u003cem>The Load\u003c/em>, \u003cem>The Hunt\u003c/em> and \u003cem>Nongqawuse\u003c/em> each focus on African women as holders of cultural memory, power and adaptability. Mabulu’s work here is a stunning start to a show that offers a mixed bag of contemporary talent, brought together as a means to display work by artists from as many corners of the African continent as possible.\u003c/p>\n\u003cp>[aside postid='arts_13985813']AOCA has been three years in the making, a sister gallery to Johannesburg’s \u003ca href=\"https://themelrosegallery.com/\">The Melrose\u003c/a>, started by Craig Mark and fine art photographer Clint Strydom eight years ago. Mark and Strydom have long been focused on bringing contemporary African art to American audiences whenever art fairs around the country — in Miami, Los Angeles, Palm Beach, Chicago and others — presented the opportunity.\u003c/p>\n\u003cp>The decision to open a permanent gallery in San Francisco arose after Mark’s three children moved to the Bay Area to study at \u003ca href=\"https://www.kqed.org/news/tag/university-of-san-francisco\">University of San Francisco\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/uc-berkeley\">UC Berkeley\u003c/a>. Mark says he immediately felt at home in San Francisco, where he is now based full-time.\u003c/p>\n\u003cp>“I felt similarities with Capetown,” he tells KQED Arts. “The vibes, the geography, the community engagement, the beautiful mix of different genres. There’s always something going on in the city.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>AOCA moves into the Minnesota Street Project space that was previously home to Rena Bransten Gallery. Mark is the first new tenant in the complex after \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">four galleries announced their closure\u003c/a> in late 2025.\u003c/p>\n\u003cfigure id=\"attachment_13986651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986651\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png\" alt=\"A piece of contemporary art, dark with several glowing elements depicts a distorted view of humanity, twisted and blended with animals.\" width=\"2000\" height=\"1721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-768x661.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-1536x1322.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mwass Githinji, ‘The Battle of Choice.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists featured in \u003cem>Afropop\u003c/em> hail from Uganda, Kenya, Ivory Coast, Cameroon, Democratic Republic of Congo, South Africa, Costa Rica and Barbados. They range in age from 25 to 90. And though the work in the show doesn’t always feel unified in style or theme, one gets the impression that Mark and Strydom are simply keen to show the Bay, right out of the gate, the wide range of what the contemporary African art world has to offer.\u003c/p>\n\u003cp>“A lot of the \u003cem>Afropop\u003c/em> works have traditional elements to them but also have a modern, contemporary feel that gives the show an interesting energy,” Mark says. “[\u003cem>Afropop\u003c/em> is] not supposed to be a representation of Africa as a whole. There’s one and a half billion people there! But by 2030, it’s estimated that 42% of the world’s youth will be in Africa. Their voice becomes extremely important globally. So I think you’re going to see more and more African [art] shows [in the U.S.]”\u003c/p>\n\u003cp>[aside postid='arts_13986355']Other standout pieces featured in \u003cem>Afropop\u003c/em> include \u003cem>The Battle of Choice\u003c/em> and \u003cem>Doomed\u003c/em> by Mwass Githinji. The 31-year-old Kenyan artist explores mythological underworlds and ongoing skirmishes between man and nature. So dimly lit and disorienting are his oil and pastel works, the viewer can’t help but think of the Mariana Trench’s deep sea creatures, both monstrous and fascinating to the human eye.\u003c/p>\n\u003cp>Elsewhere, Marcel Tchopwe explores the dearth of professional jobs in his native Cameroon, for even the most qualified candidates. \u003cem>Docteur de call box\u003c/em> depicts a man in scrubs, stethoscope slung around his neck, hawking cell phones on a street corner, seated dejectedly on a plastic chair.\u003c/p>\n\u003cfigure id=\"attachment_13986652\" class=\"wp-caption aligncenter\" style=\"max-width: 1882px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png\" alt=\"A predominantly lilac and purple painting depicting a Black man in doctor's scrubs seated on a plastic chair underneath a white umbrella. A sign at his right reads CALLS 50.\" width=\"1882\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png 1882w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-160x170.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-768x816.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-1445x1536.png 1445w\" sizes=\"auto, (max-width: 1882px) 100vw, 1882px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Tchopwe, ‘Docteur de call box.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists on display include Akilah Watts, Dr. Willie Bester, Mederic Turay, Aza Mansongi, Edozie Anedu and Pascal Konan.\u003c/p>\n\u003cp>[aside postid='arts_13986135']In the future, Mark is hoping that AOCA can bring together African and African American artists for collaborations and panel discussions at the gallery. In the meantime, after \u003cem>Afropop\u003c/em> opens, Mark and Strydom will work with the \u003ca href=\"https://www.amfedarts.org/\">American Federation of Arts\u003c/a> to tour an exhibition of pieces by Dr. Esther Mahlangu, whose striking work also appears in \u003cem>Afropop\u003c/em>. The 90-year-old artist explores her heritage in large-scale paintings and pottery inspired by the murals of the Ndebele people.\u003c/p>\n\u003cp>“There has been a traditional underrepresentation of African artists in the U.S. Very few of them have done museum shows,” Mark notes. “Artists from Africa need this kind of international exposure.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Afropop’ is on view at \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (1275 Minnesota St., San Francisco) Feb. 12–March 29, 2026. The opening reception takes place Thursday, Feb. 12, 6:30–9:30 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13986618\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986618 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png\" alt=\"A contemporary painting featuring a Black woman wearing a hair wrap, her back to the viewer, with a white swan draped over her front, its neck resting on her shoulder. She is wearing blue jeans. \" width=\"1667\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-160x192.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-768x921.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1280x1536.png 1280w\" sizes=\"auto, (max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">Ayanda Mabulu, ‘The Load,’ 2025. \u003ccite>(Courtesy of AOCA )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first thing you see when you enter \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (AOCA) — a brand new gallery at the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> — are three stunning, large scale, oil and gold leaf portraits of Black women by Ayanda Mabulu. In his own country, Mabulu is a controversial figure known for unflinching depictions of South Africa’s political landscape, from the apartheid era to the present day. His work often inspires heated discussion, outrage and discomfort.\u003c/p>\n\u003cp>The three pieces Mabulu contributes to AOCA’s inaugural exhibition \u003cem>Afropop\u003c/em>, however, are unexpectedly serene. \u003cem>The Load\u003c/em>, \u003cem>The Hunt\u003c/em> and \u003cem>Nongqawuse\u003c/em> each focus on African women as holders of cultural memory, power and adaptability. Mabulu’s work here is a stunning start to a show that offers a mixed bag of contemporary talent, brought together as a means to display work by artists from as many corners of the African continent as possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>AOCA has been three years in the making, a sister gallery to Johannesburg’s \u003ca href=\"https://themelrosegallery.com/\">The Melrose\u003c/a>, started by Craig Mark and fine art photographer Clint Strydom eight years ago. Mark and Strydom have long been focused on bringing contemporary African art to American audiences whenever art fairs around the country — in Miami, Los Angeles, Palm Beach, Chicago and others — presented the opportunity.\u003c/p>\n\u003cp>The decision to open a permanent gallery in San Francisco arose after Mark’s three children moved to the Bay Area to study at \u003ca href=\"https://www.kqed.org/news/tag/university-of-san-francisco\">University of San Francisco\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/uc-berkeley\">UC Berkeley\u003c/a>. Mark says he immediately felt at home in San Francisco, where he is now based full-time.\u003c/p>\n\u003cp>“I felt similarities with Capetown,” he tells KQED Arts. “The vibes, the geography, the community engagement, the beautiful mix of different genres. There’s always something going on in the city.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>AOCA moves into the Minnesota Street Project space that was previously home to Rena Bransten Gallery. Mark is the first new tenant in the complex after \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">four galleries announced their closure\u003c/a> in late 2025.\u003c/p>\n\u003cfigure id=\"attachment_13986651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986651\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png\" alt=\"A piece of contemporary art, dark with several glowing elements depicts a distorted view of humanity, twisted and blended with animals.\" width=\"2000\" height=\"1721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-768x661.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-1536x1322.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mwass Githinji, ‘The Battle of Choice.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists featured in \u003cem>Afropop\u003c/em> hail from Uganda, Kenya, Ivory Coast, Cameroon, Democratic Republic of Congo, South Africa, Costa Rica and Barbados. They range in age from 25 to 90. And though the work in the show doesn’t always feel unified in style or theme, one gets the impression that Mark and Strydom are simply keen to show the Bay, right out of the gate, the wide range of what the contemporary African art world has to offer.\u003c/p>\n\u003cp>“A lot of the \u003cem>Afropop\u003c/em> works have traditional elements to them but also have a modern, contemporary feel that gives the show an interesting energy,” Mark says. “[\u003cem>Afropop\u003c/em> is] not supposed to be a representation of Africa as a whole. There’s one and a half billion people there! But by 2030, it’s estimated that 42% of the world’s youth will be in Africa. Their voice becomes extremely important globally. So I think you’re going to see more and more African [art] shows [in the U.S.]”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other standout pieces featured in \u003cem>Afropop\u003c/em> include \u003cem>The Battle of Choice\u003c/em> and \u003cem>Doomed\u003c/em> by Mwass Githinji. The 31-year-old Kenyan artist explores mythological underworlds and ongoing skirmishes between man and nature. So dimly lit and disorienting are his oil and pastel works, the viewer can’t help but think of the Mariana Trench’s deep sea creatures, both monstrous and fascinating to the human eye.\u003c/p>\n\u003cp>Elsewhere, Marcel Tchopwe explores the dearth of professional jobs in his native Cameroon, for even the most qualified candidates. \u003cem>Docteur de call box\u003c/em> depicts a man in scrubs, stethoscope slung around his neck, hawking cell phones on a street corner, seated dejectedly on a plastic chair.\u003c/p>\n\u003cfigure id=\"attachment_13986652\" class=\"wp-caption aligncenter\" style=\"max-width: 1882px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png\" alt=\"A predominantly lilac and purple painting depicting a Black man in doctor's scrubs seated on a plastic chair underneath a white umbrella. A sign at his right reads CALLS 50.\" width=\"1882\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png 1882w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-160x170.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-768x816.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-1445x1536.png 1445w\" sizes=\"auto, (max-width: 1882px) 100vw, 1882px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Tchopwe, ‘Docteur de call box.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists on display include Akilah Watts, Dr. Willie Bester, Mederic Turay, Aza Mansongi, Edozie Anedu and Pascal Konan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the future, Mark is hoping that AOCA can bring together African and African American artists for collaborations and panel discussions at the gallery. In the meantime, after \u003cem>Afropop\u003c/em> opens, Mark and Strydom will work with the \u003ca href=\"https://www.amfedarts.org/\">American Federation of Arts\u003c/a> to tour an exhibition of pieces by Dr. Esther Mahlangu, whose striking work also appears in \u003cem>Afropop\u003c/em>. The 90-year-old artist explores her heritage in large-scale paintings and pottery inspired by the murals of the Ndebele people.\u003c/p>\n\u003cp>“There has been a traditional underrepresentation of African artists in the U.S. Very few of them have done museum shows,” Mark notes. “Artists from Africa need this kind of international exposure.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Afropop’ is on view at \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (1275 Minnesota St., San Francisco) Feb. 12–March 29, 2026. The opening reception takes place Thursday, Feb. 12, 6:30–9:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-useful-ghost-review-thai-film-vacuum-cleaner-romance",
"title": "For Valentine’s, a Thai Fantasy About a Ghost in a (Vacuum) Machine",
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"headTitle": "For Valentine’s, a Thai Fantasy About a Ghost in a (Vacuum) Machine | KQED",
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"content": "\u003cp>Beneath its placid and gorgeously manicured surface, the quasi-supernatural Thai romantic fantasy \u003cem>A Useful Ghost\u003c/em> conceals a deep well of weirdness. A reserved yet occasionally ribald rendering of omnisexual love, longing and belonging, the Roxie’s Valentine’s weekend offering (\u003ca href=\"https://roxie.com/film/a-useful-ghost/#showtimes\">playing Feb. 13–16 and 19\u003c/a>) should find plenty of admirers in what used to be called Babylon by the Bay.\u003c/p>\n\u003cp>[aside postid='arts_13986620']Ratchapoom Boonbunchachoke begins his Cannes prizewinning debut feature with an arresting tableau of Indigenous and historical figures posing for an artist. The completed frieze has only a short life in a public square, however, before it is removed, damaged, discarded and dissipated into dust — albeit not the same particles that make Academic Ladyboy (yes, that is the name of the shyly endearing character played by Wisarut Homhuan) sneeze, and prompt him to buy a vacuum cleaner.\u003c/p>\n\u003cp>Dust has many meanings in \u003cem>A Useful Ghost\u003c/em>, primarily as the physical and psychological residue of memories. On the personal level, dust suggests the lingering presence of deceased lovers. The filmmaker also laments the loss of historical memory, represented by the destroyed artwork (and its forgotten subjects) and the 2010 massacre of protestors by Thai soldiers that he explicitly references much later.\u003c/p>\n\u003cfigure id=\"attachment_13986672\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986672\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000.jpg\" alt=\"woman embraces man from behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics and history are not on Ladyboy’s mind, though, when a hiccup in his new appliance necessitates a visit from a repairman. The preternaturally composed Krong (Wanlop Rungkumjad) explains, possibly as a means of seduction, that there’s a ghost in Ladyboy’s machine, and he begins to recount the drolly haunted fable that comprises the heart of \u003cem>A Useful Ghost\u003c/em>.\u003c/p>\n\u003cp>The film is a compendium of unorthodox choices, starting with a gay romance as the frame for a heterosexual love story. Two more homosexual couples will join the proceedings; the audience discovers one of those relationships in flagrante. Partial spoiler alert: Three of the four couples share the same obstacle, namely, that one partner is dead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie gets to the central relationship much, much faster than I have, patient reader. March (Witsarut Himmarat), mourning a loss, has contracted a respiratory illness. His late wife, Nat (Davika Hoorne), takes up residence in a vacuum cleaner to help cure him. This is not quite as random as you may think because Nat’s perennially disapproving mother-in-law Suman (Apasiri Nitibhon) owns the vacuum cleaner factory at the center of all the paranormal shenanigans.\u003c/p>\n\u003cfigure id=\"attachment_13986669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000.jpg\" alt=\"group of six older people face a vacuum cleaner\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boonbunchachoke’s precise compositions reminded me of absurdist Swedish filmmaker and Roxie favorite Roy Andersson (\u003cem>A Pigeon Sat on a Branch Reflecting on Existence\u003c/em>), so I expected oddball behavior passing as normal. The machine (that is, Nat) waiting patiently in line to get on an elevator at the hospital has the anthropomorphic pathos of a Pixar sequence. Suman’s dead-serious admonishment of March, “Please stop screwing your vacuum,” is a pretty good laugh line. (If you’re wondering if a vacuum cleaner can give consent, the answer is “Yes, please.”)\u003c/p>\n\u003cp>Other bits are more jarring than funny, like the monks commissioned by Suman to dispel Nat whose vitriol includes the c-word. The electroconvulsive therapy used to erase March’s memories of Nat — and which is subsequently employed for political purposes — isn’t intended to be funny but it certainly puts a chill on the light comedy.\u003c/p>\n\u003cfigure id=\"attachment_13986670\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000.jpg\" alt=\"medical staff around a man in a chair, gagged with soundproofing on walls\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While it’s understandable, though not ideal, that the tone of a writer-director’s first feature wavers from time to time, it’s harder to accept the variability of the performances. The pretty young couple playing Nat and March don’t display much more emotional range than the vacuum cleaner — though it’s certainly possible that’s another joke I missed. (For the record, the machine is exceedingly well cast.)\u003c/p>\n\u003cp>[aside postid='arts_13986658']\u003cem>A Useful Ghost\u003c/em> manages to be both earnest and transgressive, thoughtful and snotty. It’s an impeccably designed argument for “the force of love” (as March tells his mother) and against the curse of loneliness, with a political hand grenade tucked inside.\u003c/p>\n\u003cp>Rather unexpectedly, given its basic premise of a ghost inhabiting a vacuum cleaner, \u003cem>A Useful Ghost\u003c/em> is a deeply moralistic film and a comedy of conscience. In Boonbunchachoke’s view, there’s a place for everyone, even ghosts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/a-useful-ghost/#showtimes\">A Useful Ghost\u003c/a>’ plays at the Roxie Theater (3125 16th St., San Francisco) Feb. 13–16 and 19, 2026.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beneath its placid and gorgeously manicured surface, the quasi-supernatural Thai romantic fantasy \u003cem>A Useful Ghost\u003c/em> conceals a deep well of weirdness. A reserved yet occasionally ribald rendering of omnisexual love, longing and belonging, the Roxie’s Valentine’s weekend offering (\u003ca href=\"https://roxie.com/film/a-useful-ghost/#showtimes\">playing Feb. 13–16 and 19\u003c/a>) should find plenty of admirers in what used to be called Babylon by the Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ratchapoom Boonbunchachoke begins his Cannes prizewinning debut feature with an arresting tableau of Indigenous and historical figures posing for an artist. The completed frieze has only a short life in a public square, however, before it is removed, damaged, discarded and dissipated into dust — albeit not the same particles that make Academic Ladyboy (yes, that is the name of the shyly endearing character played by Wisarut Homhuan) sneeze, and prompt him to buy a vacuum cleaner.\u003c/p>\n\u003cp>Dust has many meanings in \u003cem>A Useful Ghost\u003c/em>, primarily as the physical and psychological residue of memories. On the personal level, dust suggests the lingering presence of deceased lovers. The filmmaker also laments the loss of historical memory, represented by the destroyed artwork (and its forgotten subjects) and the 2010 massacre of protestors by Thai soldiers that he explicitly references much later.\u003c/p>\n\u003cfigure id=\"attachment_13986672\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986672\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000.jpg\" alt=\"woman embraces man from behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics and history are not on Ladyboy’s mind, though, when a hiccup in his new appliance necessitates a visit from a repairman. The preternaturally composed Krong (Wanlop Rungkumjad) explains, possibly as a means of seduction, that there’s a ghost in Ladyboy’s machine, and he begins to recount the drolly haunted fable that comprises the heart of \u003cem>A Useful Ghost\u003c/em>.\u003c/p>\n\u003cp>The film is a compendium of unorthodox choices, starting with a gay romance as the frame for a heterosexual love story. Two more homosexual couples will join the proceedings; the audience discovers one of those relationships in flagrante. Partial spoiler alert: Three of the four couples share the same obstacle, namely, that one partner is dead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie gets to the central relationship much, much faster than I have, patient reader. March (Witsarut Himmarat), mourning a loss, has contracted a respiratory illness. His late wife, Nat (Davika Hoorne), takes up residence in a vacuum cleaner to help cure him. This is not quite as random as you may think because Nat’s perennially disapproving mother-in-law Suman (Apasiri Nitibhon) owns the vacuum cleaner factory at the center of all the paranormal shenanigans.\u003c/p>\n\u003cfigure id=\"attachment_13986669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000.jpg\" alt=\"group of six older people face a vacuum cleaner\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boonbunchachoke’s precise compositions reminded me of absurdist Swedish filmmaker and Roxie favorite Roy Andersson (\u003cem>A Pigeon Sat on a Branch Reflecting on Existence\u003c/em>), so I expected oddball behavior passing as normal. The machine (that is, Nat) waiting patiently in line to get on an elevator at the hospital has the anthropomorphic pathos of a Pixar sequence. Suman’s dead-serious admonishment of March, “Please stop screwing your vacuum,” is a pretty good laugh line. (If you’re wondering if a vacuum cleaner can give consent, the answer is “Yes, please.”)\u003c/p>\n\u003cp>Other bits are more jarring than funny, like the monks commissioned by Suman to dispel Nat whose vitriol includes the c-word. The electroconvulsive therapy used to erase March’s memories of Nat — and which is subsequently employed for political purposes — isn’t intended to be funny but it certainly puts a chill on the light comedy.\u003c/p>\n\u003cfigure id=\"attachment_13986670\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000.jpg\" alt=\"medical staff around a man in a chair, gagged with soundproofing on walls\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While it’s understandable, though not ideal, that the tone of a writer-director’s first feature wavers from time to time, it’s harder to accept the variability of the performances. The pretty young couple playing Nat and March don’t display much more emotional range than the vacuum cleaner — though it’s certainly possible that’s another joke I missed. (For the record, the machine is exceedingly well cast.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>A Useful Ghost\u003c/em> manages to be both earnest and transgressive, thoughtful and snotty. It’s an impeccably designed argument for “the force of love” (as March tells his mother) and against the curse of loneliness, with a political hand grenade tucked inside.\u003c/p>\n\u003cp>Rather unexpectedly, given its basic premise of a ghost inhabiting a vacuum cleaner, \u003cem>A Useful Ghost\u003c/em> is a deeply moralistic film and a comedy of conscience. In Boonbunchachoke’s view, there’s a place for everyone, even ghosts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/a-useful-ghost/#showtimes\">A Useful Ghost\u003c/a>’ plays at the Roxie Theater (3125 16th St., San Francisco) Feb. 13–16 and 19, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "guerneville-russian-river-fungi-fest-mushroom-foraging-food-science-sonoma-county",
"title": "Fungi Fest Brings Mushroom Foraging, Food and Forest Science to Sonoma County",
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"content": "\u003cp>In winter, when the \u003ca href=\"https://www.kqed.org/news/tag/russian-river\">Russian River\u003c/a> slows and fog clings to the redwoods, another kingdom quietly rises beneath the forest floor.\u003c/p>\n\u003cp>Now, Guerneville is throwing a festival in its honor.\u003c/p>\n\u003cp>The inaugural \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Russian River Fungi Fest\u003c/a>, taking place Feb. 21–22, brings a two-day celebration of mushrooms to West Sonoma County, blending science talks, forest foraging, art and food.\u003c/p>\n\u003cp>[aside postID='arts_13984173']“We just threw some paint at the wall,” says Nick Schwanz, president of the \u003ca href=\"https://www.sonomacounty.com/events/russian-river-fungi-fest/\">Russian River Chamber of Commerce\u003c/a> and co-founder of \u003ca href=\"https://www.instagram.com/solarpunkfarms/\">Solar Punk Farms\u003c/a>, which is co-organizing the event. “And the instantaneous energy around it was like — okay, great, let’s do it.”\u003c/p>\n\u003cp>The celebration comes at a time when mushroom safety is top of mind. California has seen recent cases of accidental poisonings from \u003ca href=\"https://www.kqed.org/science/1999828/california-combats-largest-mushroom-poisoning-outbreak-in-the-country\">death cap mushrooms\u003c/a> — a toxic species that can resemble edible varieties and grows widely across the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s one reason Schwanz says education is central to the festival.\u003c/p>\n\u003cp>Fungi Fest evolved from two overlapping goals. Solar Punk Farms, a climate-focused community hub, is always looking for ways to get people excited about ecology. The chamber of commerce, meanwhile, wants to remind visitors that Sonoma County isn’t just a summer river destination, Schwanz says.\u003c/p>\n\u003cp>“Nature and winter in Sonoma County just scream mushrooms,” he explains.\u003c/p>\n\u003cp>[aside postid='news_11901198'] Rather than positioning themselves as mushroom authorities, organizers built what Schwanz calls a “scaffolding”: a platform for the region’s mycologists, foragers and fungi enthusiasts to share their knowledge.\u003c/p>\n\u003cp>At the center of the weekend is a \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Mushroom Marketplace\u003c/a>, expected to feature 60 to 80 vendors selling fresh mushrooms, foraging kits, books and mushroom-dyed artwork. A section dubbed “Yeast Village” will spotlight fermented foods, beer, wine and sourdough bread — everyday examples of fungi at work.\u003c/p>\n\u003cp>Two stages will host the \u003ca href=\"https://www.solarpunkfarms.com/fungifest#fungi-forum\">Fungi Forum\u003c/a>, with about 15 speakers covering topics from the basics of Sonoma County mushroom identification to how to forage safely and avoid poisonous lookalikes. Some talks will dive deeper into mycelium, the threadlike underground network that makes up most of a fungus.\u003c/p>\n\u003cfigure id=\"attachment_13984067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED.jpg\" alt=\"person crouches to cut mushroom off log, dog and another person behind\" width=\"2000\" height=\"1314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-1536x1009.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Schwanz picks mushrooms from the forest at Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people think of fungi, they think about the mushroom,” Schwanz says. “But most of fungi really is the mycelium.”\u003c/p>\n\u003cp>Mycelium, that hidden web, is essential to forest ecosystems, breaking down dead material and recycling nutrients. It’s also inspiring innovation, including biodegradable packaging and experimental building materials.\u003c/p>\n\u003cp>Beyond lectures, the festival invites people into the woods. \u003ca href=\"https://www.solarpunkfarms.com/fungifest#outdoor-adventure\">Guided hikes\u003c/a> through Armstrong Woods and foraging expeditions with local experts will give beginners a chance to learn how to identify species and harvest responsibly.\u003c/p>\n\u003cp>[aside postid='forum_2010101887174']And then there are the \u003ca href=\"https://www.solarpunkfarms.com/fungifest#pop-up-events\">pop-ups\u003c/a> — nearly 30 of them. Local restaurants and businesses are planning mushroom-themed menus, drink specials, movie screenings, workshops and even a mushroom tattoo flash. “It’s a very Guerneville party,” Schwanz admits.\u003c/p>\n\u003cp>The suggested donation is $15 for the full weekend, with no one turned away for lack of funds. Organizers say the event is designed to be family-friendly, with some programming specifically for kids.\u003c/p>\n\u003cp>“This isn’t just for people who love mushrooms on pizza,” Schwanz says. “It’s for people who are just curious about nature.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Russian River Fungi Fest\u003c/a> takes place Feb. 21–22, 2026 in downtown Guerneville. It is a free event with a suggested donation of $15 for the full weekend.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In winter, when the \u003ca href=\"https://www.kqed.org/news/tag/russian-river\">Russian River\u003c/a> slows and fog clings to the redwoods, another kingdom quietly rises beneath the forest floor.\u003c/p>\n\u003cp>Now, Guerneville is throwing a festival in its honor.\u003c/p>\n\u003cp>The inaugural \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Russian River Fungi Fest\u003c/a>, taking place Feb. 21–22, brings a two-day celebration of mushrooms to West Sonoma County, blending science talks, forest foraging, art and food.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We just threw some paint at the wall,” says Nick Schwanz, president of the \u003ca href=\"https://www.sonomacounty.com/events/russian-river-fungi-fest/\">Russian River Chamber of Commerce\u003c/a> and co-founder of \u003ca href=\"https://www.instagram.com/solarpunkfarms/\">Solar Punk Farms\u003c/a>, which is co-organizing the event. “And the instantaneous energy around it was like — okay, great, let’s do it.”\u003c/p>\n\u003cp>The celebration comes at a time when mushroom safety is top of mind. California has seen recent cases of accidental poisonings from \u003ca href=\"https://www.kqed.org/science/1999828/california-combats-largest-mushroom-poisoning-outbreak-in-the-country\">death cap mushrooms\u003c/a> — a toxic species that can resemble edible varieties and grows widely across the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s one reason Schwanz says education is central to the festival.\u003c/p>\n\u003cp>Fungi Fest evolved from two overlapping goals. Solar Punk Farms, a climate-focused community hub, is always looking for ways to get people excited about ecology. The chamber of commerce, meanwhile, wants to remind visitors that Sonoma County isn’t just a summer river destination, Schwanz says.\u003c/p>\n\u003cp>“Nature and winter in Sonoma County just scream mushrooms,” he explains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Rather than positioning themselves as mushroom authorities, organizers built what Schwanz calls a “scaffolding”: a platform for the region’s mycologists, foragers and fungi enthusiasts to share their knowledge.\u003c/p>\n\u003cp>At the center of the weekend is a \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Mushroom Marketplace\u003c/a>, expected to feature 60 to 80 vendors selling fresh mushrooms, foraging kits, books and mushroom-dyed artwork. A section dubbed “Yeast Village” will spotlight fermented foods, beer, wine and sourdough bread — everyday examples of fungi at work.\u003c/p>\n\u003cp>Two stages will host the \u003ca href=\"https://www.solarpunkfarms.com/fungifest#fungi-forum\">Fungi Forum\u003c/a>, with about 15 speakers covering topics from the basics of Sonoma County mushroom identification to how to forage safely and avoid poisonous lookalikes. Some talks will dive deeper into mycelium, the threadlike underground network that makes up most of a fungus.\u003c/p>\n\u003cfigure id=\"attachment_13984067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED.jpg\" alt=\"person crouches to cut mushroom off log, dog and another person behind\" width=\"2000\" height=\"1314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-1536x1009.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Schwanz picks mushrooms from the forest at Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people think of fungi, they think about the mushroom,” Schwanz says. “But most of fungi really is the mycelium.”\u003c/p>\n\u003cp>Mycelium, that hidden web, is essential to forest ecosystems, breaking down dead material and recycling nutrients. It’s also inspiring innovation, including biodegradable packaging and experimental building materials.\u003c/p>\n\u003cp>Beyond lectures, the festival invites people into the woods. \u003ca href=\"https://www.solarpunkfarms.com/fungifest#outdoor-adventure\">Guided hikes\u003c/a> through Armstrong Woods and foraging expeditions with local experts will give beginners a chance to learn how to identify species and harvest responsibly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And then there are the \u003ca href=\"https://www.solarpunkfarms.com/fungifest#pop-up-events\">pop-ups\u003c/a> — nearly 30 of them. Local restaurants and businesses are planning mushroom-themed menus, drink specials, movie screenings, workshops and even a mushroom tattoo flash. “It’s a very Guerneville party,” Schwanz admits.\u003c/p>\n\u003cp>The suggested donation is $15 for the full weekend, with no one turned away for lack of funds. Organizers say the event is designed to be family-friendly, with some programming specifically for kids.\u003c/p>\n\u003cp>“This isn’t just for people who love mushrooms on pizza,” Schwanz says. “It’s for people who are just curious about nature.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Russian River Fungi Fest\u003c/a> takes place Feb. 21–22, 2026 in downtown Guerneville. It is a free event with a suggested donation of $15 for the full weekend.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Update, Feb. 24, 2026: \u003c/strong>The organizers of Festival La Onda announced today \u003ca href=\"https://www.kqed.org/arts/13987034/la-onda-music-festival-canceled-in-napa\">this year’s event has been canceled\u003c/a>. Ticket holders who bought their passes directly from the festival will receive refunds in 30 days.\u003c/p>\n\u003cp>\u003cstrong>Original story:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.laondafest.com/\">La Onda Festival\u003c/a> returns to Napa Valley Expo on May 30 and 31, this time with a stacked lineup headlined by Colombian reggaetonero J Balvin; Mexican mariacheño singer Christian Nodal; Mexican rock icons Maná and Californian música mexicana singer Ivan Cornejo.\u003c/p>\n\u003cp>One of the largest Latin music festivals in the Golden State, La Onda draws around 20,000 attendees per day to the same wine country fairgrounds that host \u003ca href=\"https://www.kqed.org/arts/13985337/bottlerock-lineup-foo-fighters-backstreet-boys-lorde-sombr-lcd-soundsystem-napa\">BottleRock the weekend prior\u003c/a>.\u003c/p>\n\u003cp>Mexican musical greats including Los Tucanes de Tijuana are prominent on the intergenerational lineup, but La Onda doesn’t limit itself to one sound or cultural niche. Also on the bill are Colombian salsa giants Grupo Niche; Cuban hip-hop group Orishas; Venezuelan rapper Danny Ocean; and El Gran Combo de Puerto Rico, whose “Un Verano en Nueva York” was sampled by \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> in his smash hit “NUEVAYoL.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The remainder of the lineup includes Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, Molotov, Hermanos Espinoza, Chiquis, El Malilla, Los Primos del Este, Kinky, Ozomatli, Daniel, Me Estás Matando, Emmanuel Cortes, Pedro Sampaio, Julio Caesar, Arath Herce, eydrey, Frater Cosmic Beats, Delilah and Dreah.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>La Onda features Latin American food and beverage offerings, artist vendors, lucha libre wrestling and more. \u003ca href=\"https://www.laondafest.com/tickets/\">Single-day and weekend tickets\u003c/a> go on sale Feb. 13 at noon.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Feb. 24, 2026: \u003c/strong>The organizers of Festival La Onda announced today \u003ca href=\"https://www.kqed.org/arts/13987034/la-onda-music-festival-canceled-in-napa\">this year’s event has been canceled\u003c/a>. Ticket holders who bought their passes directly from the festival will receive refunds in 30 days.\u003c/p>\n\u003cp>\u003cstrong>Original story:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.laondafest.com/\">La Onda Festival\u003c/a> returns to Napa Valley Expo on May 30 and 31, this time with a stacked lineup headlined by Colombian reggaetonero J Balvin; Mexican mariacheño singer Christian Nodal; Mexican rock icons Maná and Californian música mexicana singer Ivan Cornejo.\u003c/p>\n\u003cp>One of the largest Latin music festivals in the Golden State, La Onda draws around 20,000 attendees per day to the same wine country fairgrounds that host \u003ca href=\"https://www.kqed.org/arts/13985337/bottlerock-lineup-foo-fighters-backstreet-boys-lorde-sombr-lcd-soundsystem-napa\">BottleRock the weekend prior\u003c/a>.\u003c/p>\n\u003cp>Mexican musical greats including Los Tucanes de Tijuana are prominent on the intergenerational lineup, but La Onda doesn’t limit itself to one sound or cultural niche. Also on the bill are Colombian salsa giants Grupo Niche; Cuban hip-hop group Orishas; Venezuelan rapper Danny Ocean; and El Gran Combo de Puerto Rico, whose “Un Verano en Nueva York” was sampled by \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> in his smash hit “NUEVAYoL.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The remainder of the lineup includes Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, Molotov, Hermanos Espinoza, Chiquis, El Malilla, Los Primos del Este, Kinky, Ozomatli, Daniel, Me Estás Matando, Emmanuel Cortes, Pedro Sampaio, Julio Caesar, Arath Herce, eydrey, Frater Cosmic Beats, Delilah and Dreah.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>La Onda features Latin American food and beverage offerings, artist vendors, lucha libre wrestling and more. \u003ca href=\"https://www.laondafest.com/tickets/\">Single-day and weekend tickets\u003c/a> go on sale Feb. 13 at noon.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lovers Lane Unites San Francisco’s Mission District with Art and Cultura",
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"content": "\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. [aside postid='arts_13986534']\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\u003c/p>\n\u003cp>https://youtu.be/B4uF9pfu_UM?si=IHhzPPZOvNoRvxAs\u003c/p>\n\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\u003c/p>\n\u003cp>https://youtu.be/1vqzFdoo-Tk?si=yWl9ZxkdlSLLdzI9\u003c/p>\n\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\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/B4uF9pfu_UM'\n title='//www.youtube.com/embed/B4uF9pfu_UM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\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/1vqzFdoo-Tk'\n title='//www.youtube.com/embed/1vqzFdoo-Tk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In recent months, \u003ca href=\"https://www.kqed.org/arts/tag/somarts\">SOMArts\u003c/a> Executive Director Maria Jenson has routinely found herself huddled in small groups, debriefing on street corners.\u003c/p>\n\u003cp>It was always after an arts community meeting organized by the city, she explains. Attendees showed up hoping to ask questions about Mayor Lurie’s plan to \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">merge the city’s three arts agencies\u003c/a>. Would grant disbursement change? Would available funding shrink? Artists and arts administrators went to these events looking for civic discourse and real dialogue.\u003c/p>\n\u003cp>“But what happened after each of the meetings I attended is that we left feeling rather unfulfilled,” Jenson says. Hence the hurried corner debriefings.\u003c/p>\n\u003cp>If the city wasn’t going to provide a forum for these conversations, SOMArts would, Jenson and her board decided. On Friday, Feb. 13, the cultural center will host a community convening they’re calling “\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here\u003c/a>.” All are welcome; the event will follow an “unconference” format, a participant-driven way to capture topics and conversations as they unfold over the course of four hours.\u003c/p>\n\u003cp>“This is a state of emergency and urgency,” Jenson says. “It’s not a moment to continue to have these very, almost curated civic meetings.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco arts scene has experienced major blows in recent weeks. On Jan. 13, the 119-year-old California College of the Arts, Northern California’s last remaining nonprofit art and design school, \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">announced it would close\u003c/a> at the end of the 2026–2027 school year. Less than two weeks later, the Mission Cultural Center for Latino Arts (MCCLA), founded in 1977, \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">shuttered indefinitely\u003c/a> due to financial crisis. These sudden announcements came after a spate of \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery\u003c/a> and nonprofit art space closures at the end of 2025.\u003c/p>\n\u003cp>“The infrastructure that sustains creative life is eroding faster than policy and philanthropy can respond,” the “Artists Live Here” event page proclaims. “If we don’t have this conversation now, we may not get another chance.”\u003c/p>\n\u003cp>Taking matters into their own hands is very much in keeping with the historical role of San Francisco’s \u003ca href=\"https://www.sfartscommission.org/experience-art/cultural-centers\">seven neighborhood cultural centers\u003c/a>, which provide accessible arts spaces, classes, exhibitions and other programming. In addition to the MCCLA and SOMArts, the city’s cultural centers include the African American Art and Culture Complex, the American Indian Cultural Center, the Asian Pacific Islander Cultural Center, Bayview Opera House Ruth Williams Memorial Theatre, and the Queer Cultural Center. Only four — now three — have physical spaces.\u003c/p>\n\u003cfigure id=\"attachment_13986215\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Brass and Copper,’ 2017, part of the artist’s current exhibition ‘Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here’ at SOMArts. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday’s convening comes as SOMArts is itself facing an uncertain financial future. “We received a 10% cut for this fiscal year, which we didn’t learn was going to happen until way after we normally prepare our annual budget,” Jenson explains. At the most recent Arts Commission meeting, a budget presentation shared big-picture numbers, but not the detailed breakdown that will help Jenson, her staff and board make plans for SOMArts’ future.\u003c/p>\n\u003cp>[aside postID='arts_13986135']“What is it going to be this year? Is it a 2% cut? Is it a 10% cut, is it more?” she asks. “That is instability right there.”\u003c/p>\n\u003cp>Meanwhile, major changes to San Francisco’s arts agencies are already underway. The cultural affairs director of the San Francisco Arts Commission (SFAC) announced his retirement on Feb. 2, less than week after the mayor posted \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">the job listing\u003c/a> for the city’s first executive director of arts and culture, a role that will oversee the still-undefined merger of the SFAC, Grants for the Arts and the Film Commission.\u003c/p>\n\u003cp>In its \u003ca href=\"https://media.api.sf.gov/documents/Commission_Streamlining_Task_Force_Final_Report.pdf\">final report\u003c/a>, the Commission Streamlining Task Force has recommended moving the majority of the 15-member Arts Commission’s functions out of the city charter and into the administrative code, where it will be more malleable — and subject to shifts in each administration’s priorities.\u003c/p>\n\u003cp>“If you wanted to create a perfect storm for an arts and culture community, then it’s all of the things we’re talking about,” Jenson says, counting off the staffing, organizational and budget changes coming from the city. “All of this change is rolling out and it’s coming towards the arts community. It looks like a small wave when you look out on the horizon, but it’s actually a tsunami.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here: Community Convening\u003c/a>’ will take place at SOMArts (934 Brannan St., San Francisco) on Friday, Feb. 13, 4–8 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent months, \u003ca href=\"https://www.kqed.org/arts/tag/somarts\">SOMArts\u003c/a> Executive Director Maria Jenson has routinely found herself huddled in small groups, debriefing on street corners.\u003c/p>\n\u003cp>It was always after an arts community meeting organized by the city, she explains. Attendees showed up hoping to ask questions about Mayor Lurie’s plan to \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">merge the city’s three arts agencies\u003c/a>. Would grant disbursement change? Would available funding shrink? Artists and arts administrators went to these events looking for civic discourse and real dialogue.\u003c/p>\n\u003cp>“But what happened after each of the meetings I attended is that we left feeling rather unfulfilled,” Jenson says. Hence the hurried corner debriefings.\u003c/p>\n\u003cp>If the city wasn’t going to provide a forum for these conversations, SOMArts would, Jenson and her board decided. On Friday, Feb. 13, the cultural center will host a community convening they’re calling “\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here\u003c/a>.” All are welcome; the event will follow an “unconference” format, a participant-driven way to capture topics and conversations as they unfold over the course of four hours.\u003c/p>\n\u003cp>“This is a state of emergency and urgency,” Jenson says. “It’s not a moment to continue to have these very, almost curated civic meetings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco arts scene has experienced major blows in recent weeks. On Jan. 13, the 119-year-old California College of the Arts, Northern California’s last remaining nonprofit art and design school, \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">announced it would close\u003c/a> at the end of the 2026–2027 school year. Less than two weeks later, the Mission Cultural Center for Latino Arts (MCCLA), founded in 1977, \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">shuttered indefinitely\u003c/a> due to financial crisis. These sudden announcements came after a spate of \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery\u003c/a> and nonprofit art space closures at the end of 2025.\u003c/p>\n\u003cp>“The infrastructure that sustains creative life is eroding faster than policy and philanthropy can respond,” the “Artists Live Here” event page proclaims. “If we don’t have this conversation now, we may not get another chance.”\u003c/p>\n\u003cp>Taking matters into their own hands is very much in keeping with the historical role of San Francisco’s \u003ca href=\"https://www.sfartscommission.org/experience-art/cultural-centers\">seven neighborhood cultural centers\u003c/a>, which provide accessible arts spaces, classes, exhibitions and other programming. In addition to the MCCLA and SOMArts, the city’s cultural centers include the African American Art and Culture Complex, the American Indian Cultural Center, the Asian Pacific Islander Cultural Center, Bayview Opera House Ruth Williams Memorial Theatre, and the Queer Cultural Center. Only four — now three — have physical spaces.\u003c/p>\n\u003cfigure id=\"attachment_13986215\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Brass and Copper,’ 2017, part of the artist’s current exhibition ‘Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here’ at SOMArts. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday’s convening comes as SOMArts is itself facing an uncertain financial future. “We received a 10% cut for this fiscal year, which we didn’t learn was going to happen until way after we normally prepare our annual budget,” Jenson explains. At the most recent Arts Commission meeting, a budget presentation shared big-picture numbers, but not the detailed breakdown that will help Jenson, her staff and board make plans for SOMArts’ future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What is it going to be this year? Is it a 2% cut? Is it a 10% cut, is it more?” she asks. “That is instability right there.”\u003c/p>\n\u003cp>Meanwhile, major changes to San Francisco’s arts agencies are already underway. The cultural affairs director of the San Francisco Arts Commission (SFAC) announced his retirement on Feb. 2, less than week after the mayor posted \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">the job listing\u003c/a> for the city’s first executive director of arts and culture, a role that will oversee the still-undefined merger of the SFAC, Grants for the Arts and the Film Commission.\u003c/p>\n\u003cp>In its \u003ca href=\"https://media.api.sf.gov/documents/Commission_Streamlining_Task_Force_Final_Report.pdf\">final report\u003c/a>, the Commission Streamlining Task Force has recommended moving the majority of the 15-member Arts Commission’s functions out of the city charter and into the administrative code, where it will be more malleable — and subject to shifts in each administration’s priorities.\u003c/p>\n\u003cp>“If you wanted to create a perfect storm for an arts and culture community, then it’s all of the things we’re talking about,” Jenson says, counting off the staffing, organizational and budget changes coming from the city. “All of this change is rolling out and it’s coming towards the arts community. It looks like a small wave when you look out on the horizon, but it’s actually a tsunami.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here: Community Convening\u003c/a>’ will take place at SOMArts (934 Brannan St., San Francisco) on Friday, Feb. 13, 4–8 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Cherry Orchard’ Is a Captivating Portrait of Family Delusion",
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"content": "\u003cp>Delusions do not pay the bills.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/tag/marin-theatre-company\">Marin Theatre\u003c/a>’s interpretation of Anton Chekhov’s final play \u003cem>The Cherry Orchard\u003c/em>, Liubóv is coming to terms with this fact, but in the worst way possible. It is her pride, and her belief that everything will magically turn around, that causes her downfall — all while disregarding that her aristocratic lot in society teeters on the brink of disappearance.\u003c/p>\n\u003cp>In a wonderful translation by Paul Schmidt, Marin Theatre’s production soars with a gleaming cast built from some of the best acting talents in the region. Those talents are showcased with terrific movement and sharp tableaus from Carey Perloff’s erudite direction.\u003c/p>\n\u003cfigure id=\"attachment_13986404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg\" alt=\"\" width=\"2000\" height=\"1305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-1536x1002.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liubóv Andréyevna Ranyévskaya (Liz Sklar), Lopákhin (Lance Gardner), Firs (Howard Swain), and Gáyev (Anthony Fusco) in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv (Liz Sklar) returns from Paris after a five-year absence to her “nursery,” a residence that sits on the massive land beside the family cherry orchard. The property has become a drag on the family’s bank account, the orchard no longer holding the magic that birthed so many variations of cherry, including the delicious dried one that 87-year-old valet Firs (Howard Swain) recalls with luscious longing. When the wealthy Lopákhin (Lance Gardner), whose enslaved father and grandfather worked this very land, suggests building summer cottages as a way to stay, Liubóv scoffs at the mere suggestion.\u003c/p>\n\u003cp>But what options are there? Liubóv has lived her life firmly upon the richest clouds of Russian society at the turn of the 20th century. Her lifetime habit of wasteful spending is not a new problem, but one that’s reached a breaking point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The power of Chekhov’s story is evident: all of the characters in this archaic aristocracy are careening towards extinction. There’s Liubóv’s adopted daughter Varya (Rosie Hallett), who awkwardly prances around with a perpetual hood over her head, hopelessly in love with Lopákhin while facing her own demise as the estate’s manager. Liubóv’s brother Gáyev (Anthony Fusco) presents as a hollow member of the aristocracy, often flexing his bona fides and penchant for great billiards shots, while also insulting those he feels are beneath him.\u003c/p>\n\u003cfigure id=\"attachment_13986409\" class=\"wp-caption aligncenter\" style=\"max-width: 1409px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg\" alt=\"\" width=\"1409\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg 1409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-1082x1536.jpg 1082w\" sizes=\"auto, (max-width: 1409px) 100vw, 1409px\">\u003cfigcaption class=\"wp-caption-text\">Ánya (Anna Takayo) and Trofímov (Joseph O’Malley) reflect on the estate in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv’s biological daughter Ánya (Anna Takayo) is only 17, but shares a deep connection with eternal student Trofímov (Joseph O’Malley), who advertises to be above love, focusing instead on his idealistic worldview that resists materialism.\u003c/p>\n\u003cp>Perloff’s direction shines in its commitment to symbolism, highly enhanced by Nina Ball’s scenic design with plenty of rustic, antique dolls that have seen better days, beautifully lit by Kate Boyd. For much of the play, actions only exist in a grander context.\u003c/p>\n\u003cp>[aside postID='arts_13984286']Notice the brilliant moment where a passerby begs for money and asks to cut through the orchard. With Liubóv’s action of presenting this beggar a gold coin, the others thunder that her own serfs are starving. Her inability to understand her own frivolity is perhaps her greatest tragic flaw. Throwing a ball you can’t afford on the day your property is about to be auctioned off? Bless her heart.\u003c/p>\n\u003cp>Does this allow for a completely empathetic view of Liubóv, who is genuinely crushed by her own vices? Well, yes and no. While many are in no rush to shed tears for a class that has built their fortunes on the literal backs of others, the production makes clear the pain of letting go of the place where Liubóv’s young child lost his life.\u003c/p>\n\u003cfigure id=\"attachment_13986402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg\" alt=\"\" width=\"2000\" height=\"1459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lopákhin (Lance Gardner) and Várya (Rosie Hallett) share a moment in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmidt’s interpretation strikes a wonderful balance of drawing out the story’s tragic elements while being terribly funny. As Píschik, Danny Scheie continues to display his sharp hilarity as one of the region’s most skilled comic actors, whether searching for some money or dealing with a sudden jolt of gout. Jomar Tagatac’s bumbling clerk Yepikhódov showcases his fantastic commitment to physical comedy.\u003c/p>\n\u003cp>[aside postid='arts_13983649']The production’s range belongs to both Sklar and Gardner, two performers who possess oodles of stage presence. Sklar’s strength is advocating for a character who’s clueless about what is coming. Her performance is loaded with melancholy radiance — choosing to dance in the most inopportune moments, while hoping this will all just go away.\u003c/p>\n\u003cp>Gardner’s power comes from understanding how his Lopákhin has the upper hand, and his unbridled glee at his rise from the lowest rungs of his class, now on the cusp of generational financial power. That makes for one particularly breathtaking, devastating moment, when he’s alone with Varya in a perfect position to propose, choosing instead to pull the earth from beneath her. (Hallett, as Varya, is in full command of how to play disappointment and devastation with grace.)\u003c/p>\n\u003cfigure id=\"attachment_13986403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Ánya (Anna Takayo) and Várya (Rosie Hallett) connect in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the play’s symbols are as striking as what Swain does with Firs, who gently appears throughout the story. In one of the play’s most painful moments, Firs is simply forgotten, a life deemed insignificant now cast aside, no matter how loyal he was to those whom he loved. Swain’s devastating physical work, showcasing Firs’ body slowly giving way to age, speaks volumes about the fragile nature of the past.\u003c/p>\n\u003cp>Chekhov’s characters are sometimes described as sipping delicious hot tea while the walls crumble around them. In \u003cem>The Cherry Orchard\u003c/em>, it’s not walls, but trees. And when those trees finally crumble, due to Lopákhin’s new vision, all that’s left of this obscure cherry orchard is a lonely old man, riddled with dementia, forgotten and unafraid.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Cherry Orchard’ runs through Feb. 22 at Marin Theatre (397 Miller Ave., Mill Valley). \u003ca href=\"https://www.marintheatre.org/show-details/the-cherry-orchard\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Delusions do not pay the bills.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/tag/marin-theatre-company\">Marin Theatre\u003c/a>’s interpretation of Anton Chekhov’s final play \u003cem>The Cherry Orchard\u003c/em>, Liubóv is coming to terms with this fact, but in the worst way possible. It is her pride, and her belief that everything will magically turn around, that causes her downfall — all while disregarding that her aristocratic lot in society teeters on the brink of disappearance.\u003c/p>\n\u003cp>In a wonderful translation by Paul Schmidt, Marin Theatre’s production soars with a gleaming cast built from some of the best acting talents in the region. Those talents are showcased with terrific movement and sharp tableaus from Carey Perloff’s erudite direction.\u003c/p>\n\u003cfigure id=\"attachment_13986404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg\" alt=\"\" width=\"2000\" height=\"1305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-1536x1002.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liubóv Andréyevna Ranyévskaya (Liz Sklar), Lopákhin (Lance Gardner), Firs (Howard Swain), and Gáyev (Anthony Fusco) in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv (Liz Sklar) returns from Paris after a five-year absence to her “nursery,” a residence that sits on the massive land beside the family cherry orchard. The property has become a drag on the family’s bank account, the orchard no longer holding the magic that birthed so many variations of cherry, including the delicious dried one that 87-year-old valet Firs (Howard Swain) recalls with luscious longing. When the wealthy Lopákhin (Lance Gardner), whose enslaved father and grandfather worked this very land, suggests building summer cottages as a way to stay, Liubóv scoffs at the mere suggestion.\u003c/p>\n\u003cp>But what options are there? Liubóv has lived her life firmly upon the richest clouds of Russian society at the turn of the 20th century. Her lifetime habit of wasteful spending is not a new problem, but one that’s reached a breaking point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The power of Chekhov’s story is evident: all of the characters in this archaic aristocracy are careening towards extinction. There’s Liubóv’s adopted daughter Varya (Rosie Hallett), who awkwardly prances around with a perpetual hood over her head, hopelessly in love with Lopákhin while facing her own demise as the estate’s manager. Liubóv’s brother Gáyev (Anthony Fusco) presents as a hollow member of the aristocracy, often flexing his bona fides and penchant for great billiards shots, while also insulting those he feels are beneath him.\u003c/p>\n\u003cfigure id=\"attachment_13986409\" class=\"wp-caption aligncenter\" style=\"max-width: 1409px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg\" alt=\"\" width=\"1409\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg 1409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-1082x1536.jpg 1082w\" sizes=\"auto, (max-width: 1409px) 100vw, 1409px\">\u003cfigcaption class=\"wp-caption-text\">Ánya (Anna Takayo) and Trofímov (Joseph O’Malley) reflect on the estate in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv’s biological daughter Ánya (Anna Takayo) is only 17, but shares a deep connection with eternal student Trofímov (Joseph O’Malley), who advertises to be above love, focusing instead on his idealistic worldview that resists materialism.\u003c/p>\n\u003cp>Perloff’s direction shines in its commitment to symbolism, highly enhanced by Nina Ball’s scenic design with plenty of rustic, antique dolls that have seen better days, beautifully lit by Kate Boyd. For much of the play, actions only exist in a grander context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Notice the brilliant moment where a passerby begs for money and asks to cut through the orchard. With Liubóv’s action of presenting this beggar a gold coin, the others thunder that her own serfs are starving. Her inability to understand her own frivolity is perhaps her greatest tragic flaw. Throwing a ball you can’t afford on the day your property is about to be auctioned off? Bless her heart.\u003c/p>\n\u003cp>Does this allow for a completely empathetic view of Liubóv, who is genuinely crushed by her own vices? Well, yes and no. While many are in no rush to shed tears for a class that has built their fortunes on the literal backs of others, the production makes clear the pain of letting go of the place where Liubóv’s young child lost his life.\u003c/p>\n\u003cfigure id=\"attachment_13986402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg\" alt=\"\" width=\"2000\" height=\"1459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lopákhin (Lance Gardner) and Várya (Rosie Hallett) share a moment in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmidt’s interpretation strikes a wonderful balance of drawing out the story’s tragic elements while being terribly funny. As Píschik, Danny Scheie continues to display his sharp hilarity as one of the region’s most skilled comic actors, whether searching for some money or dealing with a sudden jolt of gout. Jomar Tagatac’s bumbling clerk Yepikhódov showcases his fantastic commitment to physical comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The production’s range belongs to both Sklar and Gardner, two performers who possess oodles of stage presence. Sklar’s strength is advocating for a character who’s clueless about what is coming. Her performance is loaded with melancholy radiance — choosing to dance in the most inopportune moments, while hoping this will all just go away.\u003c/p>\n\u003cp>Gardner’s power comes from understanding how his Lopákhin has the upper hand, and his unbridled glee at his rise from the lowest rungs of his class, now on the cusp of generational financial power. That makes for one particularly breathtaking, devastating moment, when he’s alone with Varya in a perfect position to propose, choosing instead to pull the earth from beneath her. (Hallett, as Varya, is in full command of how to play disappointment and devastation with grace.)\u003c/p>\n\u003cfigure id=\"attachment_13986403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Ánya (Anna Takayo) and Várya (Rosie Hallett) connect in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the play’s symbols are as striking as what Swain does with Firs, who gently appears throughout the story. In one of the play’s most painful moments, Firs is simply forgotten, a life deemed insignificant now cast aside, no matter how loyal he was to those whom he loved. Swain’s devastating physical work, showcasing Firs’ body slowly giving way to age, speaks volumes about the fragile nature of the past.\u003c/p>\n\u003cp>Chekhov’s characters are sometimes described as sipping delicious hot tea while the walls crumble around them. In \u003cem>The Cherry Orchard\u003c/em>, it’s not walls, but trees. And when those trees finally crumble, due to Lopákhin’s new vision, all that’s left of this obscure cherry orchard is a lonely old man, riddled with dementia, forgotten and unafraid.\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>‘The Cherry Orchard’ runs through Feb. 22 at Marin Theatre (397 Miller Ave., Mill Valley). \u003ca href=\"https://www.marintheatre.org/show-details/the-cherry-orchard\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"soldout": {
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