The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.
Critics’ PicksCritics’ Picks
Six Must-See Bay Area Documentaries at CAAMFest 2026
Forget the Roman Empire — Think About the Etruscans Instead
Two Rising Stars of Hip-Hop to Play for Free at Stanford on Sunday
10 Affordable Craft Workshops to Acquire Fun New Skills This Summer
Celebrate the Grit and Glory of ‘25 Years of Hamburger Eyes’ at the SF Public Library
La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’
Celebrating Oakland’s Betti Ono Gallery, a Decade-Long Cultural Anchor
Víkingur Ólafsson Talks Bach, Nature and the Bay Area
A Shakespeare Story in Need of Brushing Up
A Conversation About Black Feminist Art Takes off at SFO
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"content": "\u003cp>The 44th \u003ca href=\"https://caamfest.com/2026/\">CAAMFest\u003c/a> kicks off May 7–10 in San Francisco’s Japantown, just as Asian American and Pacific Islander Heritage Month gets underway. At a time when Asian actors made up only \u003ca href=\"https://socialsciences.ucla.edu/wp-content/uploads/2026/03/UCLA-Hollywood-Diversity-Report-2026-Theatrical-Film-3-12-2026.pdf\">3.7% of lead roles\u003c/a> in the top theatrical films of 2025, this film festival paints a far more holistic portrait of Asian American storytelling. \u003c/p>\n\u003cp>CAAM, the Center for Asian American Media, is a nonprofit organization that funds, distributes and spotlights the works of Asian American filmmakers. This year, in addition to national and international titles, the festival has an especially strong selection of documentaries showcasing Bay Area stories.\u003c/p>\n\u003cp>These films explore our famously multicultural culinary scene, the rise of Silicon Valley Indian tech entrepreneurship, and the San Francisco Giants’ immense popularity in Japan, among other subjects. Here’s your guide to six very Bay Area documentaries:\u003c/p>\n\u003cfigure id=\"attachment_13989159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg\" alt=\"person in hat holds crab in front of phone camera\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13989159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Bui in a scene from ‘Meals that Made Us.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/meals-that-made-us/\">Meals That Made Us\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 8, 5:30 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Did you know there’s a Filipino restaurant in Oakland that doubles as a speakeasy mahjong den? What about the Sikh temple in Sunnyvale run by volunteer tech workers that delivers meals to unhoused communities?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Meals That Made Us\u003c/em>, a new digital series directed by Nisha Balaram, explores how the Bay Area’s vibrant culinary landscape came to be. Episodes include ones on local foraging and crabbing, and the birth of modernized traditional cuisines by a new generation of tastemakers. Balaram demonstrates that food is more than simply nourishment for AAPI communities — it’s a form of language that breaks down borders.\u003c/p>\n\u003cp>In the series, Balaram interviews a plethora of restaurant owners, chefs, writers and social media personalities (including KQED Arts & Culture’s own \u003ca href=\"https://www.kqed.org/author/ltsai\">Luke Tsai\u003c/a>) who discuss the history of Asian immigration in the Bay Area and the evolution of their beloved heritage cuisines. \u003c/p>\n\u003cp>This screening will be followed by a live Q&A with the director and featured guests from the documentary. \u003c/p>\n\u003cfigure id=\"attachment_13989160\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg\" alt=\"ballerina leaps gracefully\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Georgina Pazcoguin dances in the ‘Nutcracker’ at the New York City Ballet. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/about-face-disrupting-ballet/\">About Face: Disrupting Ballet\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 11 a.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>“It’s true that one of the first acts of tyrants is to erase history, to wipe out the recorded history of a people.” \u003c/p>\n\u003cp>Can you guess where this quote is from?\u003c/p>\n\u003cp>If you somehow managed to guess that it’s one of the countless online hate comments made against Phil Chan, resident choreographer at the Oakland Ballet Company, in response to his mission to modify racist Asian caricatures in ballet, then you are correct. \u003c/p>\n\u003cp>Why does simply wanting to make an art form more inclusive incite accusations of tyranny? How can we address issues of orientalism and exoticization while preserving the artistry of ballet? These are the questions Jennifer Lin explores in her documentary, \u003cem>About Face: Disrupting Ballet\u003c/em>. \u003c/p>\n\u003cp>The film follows Chan and his longtime friend, Georgina Pazcoguin, who was the first female AAPI soloist at the New York City Ballet. The pair demonstrates that advocacy is about neither canceling classics nor erasing history, but about nurturing a more diverse future for the art form.\u003c/p>\n\u003cfigure id=\"attachment_13989161\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg\" alt=\"Black man and Asian woman sit on bench and laugh\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13989161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-1536x810.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell and Thao Nguyen in a scene from ‘The Dao of Thao.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/the-dao-of-thao/\">The Dao of Thao\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 3 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Thao Nguyen’s life story is full of idiosyncrasies and surprises. The Bay Area theater performer and former artistic director of San Francisco’s Asian Pacific Islander Cultural Center is the daughter of Vietnamese war refugees. She’s also a queer woman who partnered with a cis white man, with whom she’s now raising their mixed-race son, all while pursuing a PhD at Stanford.\u003c/p>\n\u003cp>In Khai Thu Nguyen’s documentary \u003cem>The Dao of Thao\u003c/em>, produced by W. Kamau Bell, our loveable protagonist prepares for her next comedy show, which explores her intersecting Asian American and queer identities amid new motherhood. \u003c/p>\n\u003cp>What \u003cem>does\u003c/em> potty training have to do with institutional racism? Khai Thu Nguyen shows an artist navigating not only her personal life experiences, but also structural inequality, and doing it all through humorous yet humanistic on-stage storytelling.\u003c/p>\n\u003cfigure id=\"attachment_13989162\" class=\"wp-caption aligncenter\" style=\"max-width: 1573px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg\" alt=\"Asian man and South Asian man in room filled with computers\" width=\"1573\" height=\"1126\" class=\"size-full wp-image-13989162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg 1573w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-1536x1100.jpg 1536w\" sizes=\"auto, (max-width: 1573px) 100vw, 1573px\">\u003cfigcaption class=\"wp-caption-text\">Kanwal Rekhi, right, in his early Silicon Valley days. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/breaking-the-code/\">Breaking the Code\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 5 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>The phrase “Silicon Valley Indian Mafia” may sound familiar to anyone with proximity to the Bay Area tech scene. In \u003cem>Breaking the Code\u003c/em>, director Ben Rekhi documents the history of the mafia’s undisputed godfather, Kanwal Rekhi — who also happens to be his \u003cem>actual\u003c/em> father.\u003c/p>\n\u003cp>The public knows Kanwal Rekhi as the co-founder of Excelan and IndUS Entrepreneurs (TiE), and, most notably, as the first Indian American founder and CEO to take a venture-backed company public on NASDAQ in 1987.\u003c/p>\n\u003cp>But his private life tells the story of the son of an army general from India. Born with a stutter and ostracized from his family, he immigrates to America in search of a new life, only to face racial discrimination. The film is not just about a tech pioneer’s remarkable rise to success, but also an intimate portrait of family and sacrifice along the road to greatness in the entrepreneurial world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" title=\"vimeo-player\" src=\"https://player.vimeo.com/video/1084748617?h=8a0d1dbe8e\" width=\"640\" height=\"360\" frameborder=\"0\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/diamond-diplomacy/\">Diamond Diplomacy\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 10, 2 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>You don’t have to be a baseball fan to enjoy Yuriko Gamo Romer’s \u003cem>Diamond Diplomacy\u003c/em>, a film chronicling the fascinating, century-long role the sport has played in strengthening diplomatic ties between America and Japan, even amid war. And in the center of that diplomacy is San Francisco.\u003c/p>\n\u003cp>It’s said that San Francisco Seals player Lefty O’Doul’s popularity in Japan may have briefly forestalled the heights of World War II. Beginning in 1964, when Masanori “Mashi” Murakami was recruited to play for the San Francisco Giants, cultural exchange between the two countries became literal: American players began signing with Japanese teams, and Japanese players with American teams.\u003c/p>\n\u003cp>The 2025 runner-up at the Library of Congress Lavine/Ken Burns Prize for Film, \u003cem>Diamond Diplomacy\u003c/em> presents a compelling history of baseball as a vehicle for community that transcends borders and time.\u003c/p>\n\u003cfigure id=\"attachment_13989164\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000.jpg\" alt=\"Asian woman seated at outdoor table smiling behind four sewing machines, comments on right\" width=\"2000\" height=\"1103\" class=\"size-full wp-image-13989164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-1536x847.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-672x372.jpg 672w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Grace Yoo, part of the Auntie Sewing Squad, with four sewing machines in a Facebook post. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/the-auntie-sewing-squad-resistance-playbook/\">The Auntie Sewing Squad Resistance Playbook\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 10, 4:15 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>When the government fails to protect its people during the deadly COVID-19 pandemic, the Auntie Sewing Squad (ASS) steps up! \u003c/p>\n\u003cp>Directed by San Francisco State University ethnic studies professor Valerie Soe, \u003cem>The Auntie Sewing Squad Resistance Playbook\u003c/em> tells the story of how a Facebook group blossomed into a mutual aid movement made up of BIPOC, queer “aunties.” During the pandemic, performance artist Kristina Wong started a small volunteer group to sew masks for hospitals and MUNI workers; it quickly grew into a network of thousands distributing masks and resources to vulnerable people, from rural farmers to Indigenous communities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Humorous and uplifting, \u003cem>The Auntie Sewing Squad Resistance Playbook\u003c/em> is a testament to the power of solidarity and radical care in times of political strife.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 44th \u003ca href=\"https://caamfest.com/2026/\">CAAMFest\u003c/a> kicks off May 7–10 in San Francisco’s Japantown, just as Asian American and Pacific Islander Heritage Month gets underway. At a time when Asian actors made up only \u003ca href=\"https://socialsciences.ucla.edu/wp-content/uploads/2026/03/UCLA-Hollywood-Diversity-Report-2026-Theatrical-Film-3-12-2026.pdf\">3.7% of lead roles\u003c/a> in the top theatrical films of 2025, this film festival paints a far more holistic portrait of Asian American storytelling. \u003c/p>\n\u003cp>CAAM, the Center for Asian American Media, is a nonprofit organization that funds, distributes and spotlights the works of Asian American filmmakers. This year, in addition to national and international titles, the festival has an especially strong selection of documentaries showcasing Bay Area stories.\u003c/p>\n\u003cp>These films explore our famously multicultural culinary scene, the rise of Silicon Valley Indian tech entrepreneurship, and the San Francisco Giants’ immense popularity in Japan, among other subjects. Here’s your guide to six very Bay Area documentaries:\u003c/p>\n\u003cfigure id=\"attachment_13989159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg\" alt=\"person in hat holds crab in front of phone camera\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13989159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Bui in a scene from ‘Meals that Made Us.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/meals-that-made-us/\">Meals That Made Us\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 8, 5:30 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Did you know there’s a Filipino restaurant in Oakland that doubles as a speakeasy mahjong den? What about the Sikh temple in Sunnyvale run by volunteer tech workers that delivers meals to unhoused communities?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Meals That Made Us\u003c/em>, a new digital series directed by Nisha Balaram, explores how the Bay Area’s vibrant culinary landscape came to be. Episodes include ones on local foraging and crabbing, and the birth of modernized traditional cuisines by a new generation of tastemakers. Balaram demonstrates that food is more than simply nourishment for AAPI communities — it’s a form of language that breaks down borders.\u003c/p>\n\u003cp>In the series, Balaram interviews a plethora of restaurant owners, chefs, writers and social media personalities (including KQED Arts & Culture’s own \u003ca href=\"https://www.kqed.org/author/ltsai\">Luke Tsai\u003c/a>) who discuss the history of Asian immigration in the Bay Area and the evolution of their beloved heritage cuisines. \u003c/p>\n\u003cp>This screening will be followed by a live Q&A with the director and featured guests from the documentary. \u003c/p>\n\u003cfigure id=\"attachment_13989160\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg\" alt=\"ballerina leaps gracefully\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Georgina Pazcoguin dances in the ‘Nutcracker’ at the New York City Ballet. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/about-face-disrupting-ballet/\">About Face: Disrupting Ballet\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 11 a.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>“It’s true that one of the first acts of tyrants is to erase history, to wipe out the recorded history of a people.” \u003c/p>\n\u003cp>Can you guess where this quote is from?\u003c/p>\n\u003cp>If you somehow managed to guess that it’s one of the countless online hate comments made against Phil Chan, resident choreographer at the Oakland Ballet Company, in response to his mission to modify racist Asian caricatures in ballet, then you are correct. \u003c/p>\n\u003cp>Why does simply wanting to make an art form more inclusive incite accusations of tyranny? How can we address issues of orientalism and exoticization while preserving the artistry of ballet? These are the questions Jennifer Lin explores in her documentary, \u003cem>About Face: Disrupting Ballet\u003c/em>. \u003c/p>\n\u003cp>The film follows Chan and his longtime friend, Georgina Pazcoguin, who was the first female AAPI soloist at the New York City Ballet. The pair demonstrates that advocacy is about neither canceling classics nor erasing history, but about nurturing a more diverse future for the art form.\u003c/p>\n\u003cfigure id=\"attachment_13989161\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg\" alt=\"Black man and Asian woman sit on bench and laugh\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13989161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-1536x810.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell and Thao Nguyen in a scene from ‘The Dao of Thao.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/the-dao-of-thao/\">The Dao of Thao\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 3 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Thao Nguyen’s life story is full of idiosyncrasies and surprises. The Bay Area theater performer and former artistic director of San Francisco’s Asian Pacific Islander Cultural Center is the daughter of Vietnamese war refugees. She’s also a queer woman who partnered with a cis white man, with whom she’s now raising their mixed-race son, all while pursuing a PhD at Stanford.\u003c/p>\n\u003cp>In Khai Thu Nguyen’s documentary \u003cem>The Dao of Thao\u003c/em>, produced by W. Kamau Bell, our loveable protagonist prepares for her next comedy show, which explores her intersecting Asian American and queer identities amid new motherhood. \u003c/p>\n\u003cp>What \u003cem>does\u003c/em> potty training have to do with institutional racism? Khai Thu Nguyen shows an artist navigating not only her personal life experiences, but also structural inequality, and doing it all through humorous yet humanistic on-stage storytelling.\u003c/p>\n\u003cfigure id=\"attachment_13989162\" class=\"wp-caption aligncenter\" style=\"max-width: 1573px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg\" alt=\"Asian man and South Asian man in room filled with computers\" width=\"1573\" height=\"1126\" class=\"size-full wp-image-13989162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg 1573w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-1536x1100.jpg 1536w\" sizes=\"auto, (max-width: 1573px) 100vw, 1573px\">\u003cfigcaption class=\"wp-caption-text\">Kanwal Rekhi, right, in his early Silicon Valley days. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/breaking-the-code/\">Breaking the Code\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 5 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>The phrase “Silicon Valley Indian Mafia” may sound familiar to anyone with proximity to the Bay Area tech scene. In \u003cem>Breaking the Code\u003c/em>, director Ben Rekhi documents the history of the mafia’s undisputed godfather, Kanwal Rekhi — who also happens to be his \u003cem>actual\u003c/em> father.\u003c/p>\n\u003cp>The public knows Kanwal Rekhi as the co-founder of Excelan and IndUS Entrepreneurs (TiE), and, most notably, as the first Indian American founder and CEO to take a venture-backed company public on NASDAQ in 1987.\u003c/p>\n\u003cp>But his private life tells the story of the son of an army general from India. Born with a stutter and ostracized from his family, he immigrates to America in search of a new life, only to face racial discrimination. The film is not just about a tech pioneer’s remarkable rise to success, but also an intimate portrait of family and sacrifice along the road to greatness in the entrepreneurial world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" title=\"vimeo-player\" src=\"https://player.vimeo.com/video/1084748617?h=8a0d1dbe8e\" width=\"640\" height=\"360\" frameborder=\"0\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/diamond-diplomacy/\">Diamond Diplomacy\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 10, 2 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>You don’t have to be a baseball fan to enjoy Yuriko Gamo Romer’s \u003cem>Diamond Diplomacy\u003c/em>, a film chronicling the fascinating, century-long role the sport has played in strengthening diplomatic ties between America and Japan, even amid war. And in the center of that diplomacy is San Francisco.\u003c/p>\n\u003cp>It’s said that San Francisco Seals player Lefty O’Doul’s popularity in Japan may have briefly forestalled the heights of World War II. Beginning in 1964, when Masanori “Mashi” Murakami was recruited to play for the San Francisco Giants, cultural exchange between the two countries became literal: American players began signing with Japanese teams, and Japanese players with American teams.\u003c/p>\n\u003cp>The 2025 runner-up at the Library of Congress Lavine/Ken Burns Prize for Film, \u003cem>Diamond Diplomacy\u003c/em> presents a compelling history of baseball as a vehicle for community that transcends borders and time.\u003c/p>\n\u003cfigure id=\"attachment_13989164\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000.jpg\" alt=\"Asian woman seated at outdoor table smiling behind four sewing machines, comments on right\" width=\"2000\" height=\"1103\" class=\"size-full wp-image-13989164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-1536x847.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-672x372.jpg 672w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Grace Yoo, part of the Auntie Sewing Squad, with four sewing machines in a Facebook post. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/the-auntie-sewing-squad-resistance-playbook/\">The Auntie Sewing Squad Resistance Playbook\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 10, 4:15 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>When the government fails to protect its people during the deadly COVID-19 pandemic, the Auntie Sewing Squad (ASS) steps up! \u003c/p>\n\u003cp>Directed by San Francisco State University ethnic studies professor Valerie Soe, \u003cem>The Auntie Sewing Squad Resistance Playbook\u003c/em> tells the story of how a Facebook group blossomed into a mutual aid movement made up of BIPOC, queer “aunties.” During the pandemic, performance artist Kristina Wong started a small volunteer group to sew masks for hospitals and MUNI workers; it quickly grew into a network of thousands distributing masks and resources to vulnerable people, from rural farmers to Indigenous communities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Humorous and uplifting, \u003cem>The Auntie Sewing Squad Resistance Playbook\u003c/em> is a testament to the power of solidarity and radical care in times of political strife.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "etruscan-art-legion-of-honor-review-ancient-italy-roman",
"title": "Forget the Roman Empire — Think About the Etruscans Instead",
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"headTitle": "Forget the Roman Empire — Think About the Etruscans Instead | KQED",
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"content": "\u003cp>Empires get all the credit. And yet it was the Etruscans, the people who lived in present-day Tuscany between 900 and 100 B.C., who taught the Romans about viticulture, urban planning and complex hydraulic works. Without the Etruscans there would be no toga, or what we now call Roman numerals.\u003c/p>\n\u003cp>For too long, as curator Renée Dreyfus argues in her Legion of Honor exhibition \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>\u003c/i>, Etruscan culture has been overshadowed by the Greeks and Romans. The Etruscans are considered “mysterious” or “unknowable,” but as the show’s introductory video says, we just need to dig deeper — literally.\u003c/p>\n\u003cp>\u003ci>The Etruscans\u003c/i> gathers the latest scholarship and over 150 objects for the largest-ever presentation of Etruscan art and artifacts outside of Italy. An international roster of over two dozen institutions has loaned what are clearly treasures to this show; some have left their host museums for the first time since they were discovered. \u003c/p>\n\u003cfigure id=\"attachment_13989112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg\" alt=\"curved display with objects in vitrines, show title in black on wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of what we see at the Legion of Honor comes from the tombs of the elite: finely wrought jewelry, delicately painted pottery, everything needed to live well in the afterlife. (This includes eating and partying — the Etruscans were devoted to their banquets.) \u003c/p>\n\u003cp>But the show also contains objects made for the living: a model for the study of divination, votive figures of the Etruscans’ many gods, and small bronzes found in the thermal waters of San Casciano dei Bagni. That model, the “Liver of Piacenza,” is one of the most remarkable objects on display. The life-sized bronze replica of a sheep’s liver is inscribed with the names of Etruscan deities; it acted as a guide to reading the entrails of sacrificed animals, which in turn determined the will of the gods. \u003c/p>\n\u003cfigure id=\"attachment_13989115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg\" alt=\"bronze object covered in inscriptions\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Etruscan model of a sheep’s liver, found in Piacenza, second century B.C. \u003ccite>(Courtesy of the Musei Civici di Palazzo Farnese, Piacenza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Etruscans used the Greek alphabet, generally read right to left, their language was a unique non-Indo-European tongue with no known antecedents or modern descendants. Most of the Etruscan writing that exists now is funerary inscriptions on objects, short phrases of ownership or dedication. But at the Legion of Honor — incredibly rare thing alert! — we also get to see the longest example of Etruscan writing: a wide, framed display on strips of linen that has its own incredible backstory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ci>Liber linteus zagrabiensis\u003c/i> (Linen book of Zagreb) is the longest-surviving Etruscan text (aka Europe’s oldest book). Believed to be a calendar of ritual sacrifices and prayers, it dates back to the mid-third century B.C. The text exists \u003ci>only\u003c/i> because the manuscript was cut into strips and used to wrap an Egyptian mummy. Preserved by Egypt’s dry climate, the deconstructed book was identified as Etruscian writing in 1892, nearly 50 years after it was purchased in Alexandria.\u003c/p>\n\u003cfigure id=\"attachment_13989116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg\" alt=\"person stands in front of wide frame holding strips of linen\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Liber linteus zagrabiensis’ in ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That may seem oh so long ago, but scholars and archeologists are still making new discoveries about the Etruscans today. The small sculptures excavated from the mud of San Casciano dei Bagni, on display in the exhibition’s final gallery, were found just two years ago. \u003c/p>\n\u003cp>It’s hard to make an ancient civilization come alive for modern audiences. It helps that so many of the objects on view are playful, animated: a handle made from a bent-backwards body, a wonderfully elongated figure, a cup in the shape of a leg. \u003ci>The Etruscans\u003c/i> also stresses again and again just what made these people unique, especially in comparison to the empire that eventually subsumed them. (Etruscans became Roman citizens in 89 B.C.)\u003c/p>\n\u003cfigure id=\"attachment_13989119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg\" alt=\"terracotta sculpture of man and woman lounging together\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cinerary urn of the spouses, Etruscan, Caere, 520–500 B.C. \u003ccite>(Musée du Louvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women, in particular, enjoyed an elevated status in Etruscan society. They were highly literate, could inherit property, kept their maiden names and participated in public life. A reproduction of a painting in the Tomb of the Leopards spreads across one wall of the exhibition, showing both men and women lounging, conversing and generally enjoying themselves at a banquet. Greek symposia, in contrast, were the sole domain of aristocratic men.\u003c/p>\n\u003cp>The society that emerges through this exhibition is one of great wealth (the fine detail on the jewelry, holy moly) and great joy. Only people with a sense of delight would carve a toiletries box in the shape of a fawn. Or put such enigmatic and peaceful smiles on their renderings of the dead. You may emerge from the subterranean depths of the Legion of Honor wishing a bit more of Etruscan culture seeped its way into the Roman world, and, eventually, Western civilization.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>’ is on view at the Legion of Honor (100 34th Ave., San Francisco) May 2–Sept. 20, 2026.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Empires get all the credit. And yet it was the Etruscans, the people who lived in present-day Tuscany between 900 and 100 B.C., who taught the Romans about viticulture, urban planning and complex hydraulic works. Without the Etruscans there would be no toga, or what we now call Roman numerals.\u003c/p>\n\u003cp>For too long, as curator Renée Dreyfus argues in her Legion of Honor exhibition \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>\u003c/i>, Etruscan culture has been overshadowed by the Greeks and Romans. The Etruscans are considered “mysterious” or “unknowable,” but as the show’s introductory video says, we just need to dig deeper — literally.\u003c/p>\n\u003cp>\u003ci>The Etruscans\u003c/i> gathers the latest scholarship and over 150 objects for the largest-ever presentation of Etruscan art and artifacts outside of Italy. An international roster of over two dozen institutions has loaned what are clearly treasures to this show; some have left their host museums for the first time since they were discovered. \u003c/p>\n\u003cfigure id=\"attachment_13989112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg\" alt=\"curved display with objects in vitrines, show title in black on wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of what we see at the Legion of Honor comes from the tombs of the elite: finely wrought jewelry, delicately painted pottery, everything needed to live well in the afterlife. (This includes eating and partying — the Etruscans were devoted to their banquets.) \u003c/p>\n\u003cp>But the show also contains objects made for the living: a model for the study of divination, votive figures of the Etruscans’ many gods, and small bronzes found in the thermal waters of San Casciano dei Bagni. That model, the “Liver of Piacenza,” is one of the most remarkable objects on display. The life-sized bronze replica of a sheep’s liver is inscribed with the names of Etruscan deities; it acted as a guide to reading the entrails of sacrificed animals, which in turn determined the will of the gods. \u003c/p>\n\u003cfigure id=\"attachment_13989115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg\" alt=\"bronze object covered in inscriptions\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Etruscan model of a sheep’s liver, found in Piacenza, second century B.C. \u003ccite>(Courtesy of the Musei Civici di Palazzo Farnese, Piacenza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Etruscans used the Greek alphabet, generally read right to left, their language was a unique non-Indo-European tongue with no known antecedents or modern descendants. Most of the Etruscan writing that exists now is funerary inscriptions on objects, short phrases of ownership or dedication. But at the Legion of Honor — incredibly rare thing alert! — we also get to see the longest example of Etruscan writing: a wide, framed display on strips of linen that has its own incredible backstory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ci>Liber linteus zagrabiensis\u003c/i> (Linen book of Zagreb) is the longest-surviving Etruscan text (aka Europe’s oldest book). Believed to be a calendar of ritual sacrifices and prayers, it dates back to the mid-third century B.C. The text exists \u003ci>only\u003c/i> because the manuscript was cut into strips and used to wrap an Egyptian mummy. Preserved by Egypt’s dry climate, the deconstructed book was identified as Etruscian writing in 1892, nearly 50 years after it was purchased in Alexandria.\u003c/p>\n\u003cfigure id=\"attachment_13989116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg\" alt=\"person stands in front of wide frame holding strips of linen\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Liber linteus zagrabiensis’ in ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That may seem oh so long ago, but scholars and archeologists are still making new discoveries about the Etruscans today. The small sculptures excavated from the mud of San Casciano dei Bagni, on display in the exhibition’s final gallery, were found just two years ago. \u003c/p>\n\u003cp>It’s hard to make an ancient civilization come alive for modern audiences. It helps that so many of the objects on view are playful, animated: a handle made from a bent-backwards body, a wonderfully elongated figure, a cup in the shape of a leg. \u003ci>The Etruscans\u003c/i> also stresses again and again just what made these people unique, especially in comparison to the empire that eventually subsumed them. (Etruscans became Roman citizens in 89 B.C.)\u003c/p>\n\u003cfigure id=\"attachment_13989119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg\" alt=\"terracotta sculpture of man and woman lounging together\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cinerary urn of the spouses, Etruscan, Caere, 520–500 B.C. \u003ccite>(Musée du Louvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women, in particular, enjoyed an elevated status in Etruscan society. They were highly literate, could inherit property, kept their maiden names and participated in public life. A reproduction of a painting in the Tomb of the Leopards spreads across one wall of the exhibition, showing both men and women lounging, conversing and generally enjoying themselves at a banquet. Greek symposia, in contrast, were the sole domain of aristocratic men.\u003c/p>\n\u003cp>The society that emerges through this exhibition is one of great wealth (the fine detail on the jewelry, holy moly) and great joy. Only people with a sense of delight would carve a toiletries box in the shape of a fawn. Or put such enigmatic and peaceful smiles on their renderings of the dead. You may emerge from the subterranean depths of the Legion of Honor wishing a bit more of Etruscan culture seeped its way into the Roman world, and, eventually, Western civilization.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>’ is on view at the Legion of Honor (100 34th Ave., San Francisco) May 2–Sept. 20, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Two Rising Stars of Hip-Hop to Play for Free at Stanford on Sunday",
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"content": "\u003cp>Two of the biggest rising stars in hip-hop will descend upon Stanford’s campus this weekend for a free show, \u003ca href=\"https://live.stanford.edu/events/26-frost/blackfest/\">Stanford Blackfest\u003c/a>. On Sunday, May 3, \u003ca href=\"https://www.instagram.com/samaracyn/\">Samara Cyn\u003c/a> and \u003ca href=\"https://www.instagram.com/jidsv/\">J.I.D\u003c/a>. are set to rock the university’s outdoor amphitheater.\u003c/p>\n\u003cp>An annual showcase of top-tier talent combined with a family-reunion vibe, Stanford Blackfest \u003ca href=\"https://www.kqed.org/arts/13956365/larry-june-stanford-blackfest-free\">dates back five decades\u003c/a>. The event started as a social gathering for African American students, organized by the Black Community Services Center and the Black Student Union. Over the years it’s welcomed some of the biggest names in music, including Future, E-40, Kendrick Lamar and more. Last year, San Francisco’s Larry June brought a healthy dose of game to The Farm.\u003c/p>\n\u003cp>Cyn, a frequent collaborator with Oakland’s Ovrkast., has etched a large following over the past five years. The Los Angeles-based artist recently released \u003cem>Detour,\u003c/em> a follow-up to her acclaimed 2024 album \u003cem>The Drive Home\u003c/em>. Last year, she was named\u003ca href=\"https://www.billboard.com/music/rb-hip-hop/samara-cyn-backroads-hip-hop-rookie-of-month-may-2025-1235983647/\"> Billboard’s Hip-Hop Rookie of the Month\u003c/a>, was included in the \u003ca href=\"https://www.youtube.com/watch?v=gaYynzCLOgs\">2025 XXL Freshman class\u003c/a> and performed on \u003ca href=\"https://www.youtube.com/watch?v=AWBlOZ5L1bw\">\u003cem>The Daily Show\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gaYynzCLOgs\u003c/p>\n\u003cp>J.I.D. is a former college football player who found his passion in wordplay, and rose to lyrical prominence as a member of J. Cole’s Dreamville Records.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Never Story\u003c/em> and \u003cem>The Forever Story\u003c/em> are highlights of his output, which includes some notable EPs and a wide range of features with Eminem, Imagine Dragons and more. A Grammy-nominated wordsmith and Billboard-charting artist, his claim to fame is arguably the “\u003ca href=\"https://www.youtube.com/watch?v=MICViuyL4Lg\">Surround Sound Challenge\u003c/a>” (or “Ceiling Challenge”), a viral phenomenon of people dancing to his song “Surround Sound” as filmed from the ceiling.\u003c/p>\n\u003cp>Both Samara Cyn and J.I.D. are talented writers who can float melodically over beats, vocally harmonizing with heavy bass lines and mixing catchy hooks with clever wordplay. Given the talent on stage, attendees are advised to show up early and be prepared for a musical treat.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Stanford Blackfest 2026 takes place May 3, 2026, at Stanford’s Frost Amphitheater (351 Lasuen St., Stanford). \u003ca href=\"https://live.stanford.edu/s/event?EventID=16602\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two of the biggest rising stars in hip-hop will descend upon Stanford’s campus this weekend for a free show, \u003ca href=\"https://live.stanford.edu/events/26-frost/blackfest/\">Stanford Blackfest\u003c/a>. On Sunday, May 3, \u003ca href=\"https://www.instagram.com/samaracyn/\">Samara Cyn\u003c/a> and \u003ca href=\"https://www.instagram.com/jidsv/\">J.I.D\u003c/a>. are set to rock the university’s outdoor amphitheater.\u003c/p>\n\u003cp>An annual showcase of top-tier talent combined with a family-reunion vibe, Stanford Blackfest \u003ca href=\"https://www.kqed.org/arts/13956365/larry-june-stanford-blackfest-free\">dates back five decades\u003c/a>. The event started as a social gathering for African American students, organized by the Black Community Services Center and the Black Student Union. Over the years it’s welcomed some of the biggest names in music, including Future, E-40, Kendrick Lamar and more. Last year, San Francisco’s Larry June brought a healthy dose of game to The Farm.\u003c/p>\n\u003cp>Cyn, a frequent collaborator with Oakland’s Ovrkast., has etched a large following over the past five years. The Los Angeles-based artist recently released \u003cem>Detour,\u003c/em> a follow-up to her acclaimed 2024 album \u003cem>The Drive Home\u003c/em>. Last year, she was named\u003ca href=\"https://www.billboard.com/music/rb-hip-hop/samara-cyn-backroads-hip-hop-rookie-of-month-may-2025-1235983647/\"> Billboard’s Hip-Hop Rookie of the Month\u003c/a>, was included in the \u003ca href=\"https://www.youtube.com/watch?v=gaYynzCLOgs\">2025 XXL Freshman class\u003c/a> and performed on \u003ca href=\"https://www.youtube.com/watch?v=AWBlOZ5L1bw\">\u003cem>The Daily Show\u003c/em>\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gaYynzCLOgs'\n title='//www.youtube.com/embed/gaYynzCLOgs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>J.I.D. is a former college football player who found his passion in wordplay, and rose to lyrical prominence as a member of J. Cole’s Dreamville Records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Never Story\u003c/em> and \u003cem>The Forever Story\u003c/em> are highlights of his output, which includes some notable EPs and a wide range of features with Eminem, Imagine Dragons and more. A Grammy-nominated wordsmith and Billboard-charting artist, his claim to fame is arguably the “\u003ca href=\"https://www.youtube.com/watch?v=MICViuyL4Lg\">Surround Sound Challenge\u003c/a>” (or “Ceiling Challenge”), a viral phenomenon of people dancing to his song “Surround Sound” as filmed from the ceiling.\u003c/p>\n\u003cp>Both Samara Cyn and J.I.D. are talented writers who can float melodically over beats, vocally harmonizing with heavy bass lines and mixing catchy hooks with clever wordplay. Given the talent on stage, attendees are advised to show up early and be prepared for a musical treat.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Stanford Blackfest 2026 takes place May 3, 2026, at Stanford’s Frost Amphitheater (351 Lasuen St., Stanford). \u003ca href=\"https://live.stanford.edu/s/event?EventID=16602\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "craft-workshops-affordable-bay-area-summer-2026",
"title": "10 Affordable Craft Workshops to Acquire Fun New Skills This Summer",
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"headTitle": "10 Affordable Craft Workshops to Acquire Fun New Skills This Summer | KQED",
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"content": "\u003cp>\u003ci>This story is part of \u003ca href=\"https://www.kqed.org/affordability\">How We Get By\u003c/a>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003ca href=\"https://www.kqed.org/affordability\">full series here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>Last year, KQED Forum did a show about “\u003ca href=\"https://www.kqed.org/forum/2010101909839/have-you-been-priced-out-of-a-hobby\">hobby inflation\u003c/a>,” in which Mina Kim and her guests explored the increasing difficulty for many people to afford creative activities in their spare time.\u003c/p>\n\u003cp>In the interest of making sure more of us can nurture our artistic impulses, we’ve tracked down 10 crafty Bay Area summer classes that cost less than $100 each. All of them offer opportunities to learn fun new skills without breaking the bank.\u003c/p>\n\u003cfigure id=\"attachment_13988730\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988730 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/postcard-embroidery.png\" alt=\"A postcard featuring a seagull and the words 'Greetings from California' that's been enhanced by embroidery stitching.\" width=\"2000\" height=\"1311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/postcard-embroidery.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/postcard-embroidery-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/postcard-embroidery-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/postcard-embroidery-1536x1007.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carry on a Victorian tradition by beautifying your postcards with embroidery. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Embroidering postcards\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfcb.org/workshops/detail?coursestormCourseId=1f25cddc35fc11f185ff0affe5650d13\">San Francisco Center for the Book\u003c/a>\u003c/em>\u003cbr>\n\u003cem>Online workshop\u003c/em>\u003cbr>\n\u003ci>$75\u003c/i>\u003c/p>\n\u003cp>Artist and writer Hope Amico has been operating \u003ca href=\"https://hopeamico.com/store/keep-writing-project\">a pen pal postcard subscription service\u003c/a> since 2008. Not only is Amico passionate about sending physical mail, they’ve invested in making it as beautiful as possible. Makes sense, then, that they’re running this 3-hour class for the San Francisco Center for the Book that teaches participants how to embellish their mail with embroidery — an art form that has been around since the Victorian era.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amico will provide PDF instructions, teach the basics of sewing on paper, demonstrate different kinds of stitches and guide a practice session. Students are asked to join the class on Aug. 11 at 4 p.m. armed with two embroidery needles, three colors of embroidery thread, an \u003ca href=\"https://www.merriam-webster.com/dictionary/awl\">awl\u003c/a>, two postcards, scissors, a ruler and a pencil. Happy stitching, everyone!\u003c/p>\n\u003cfigure id=\"attachment_13988721\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988721 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-scaled.jpg\" alt=\"A selection of small candles in various glass receptacles, complete with herbs and petals.\" width=\"2560\" height=\"1925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-2000x1504.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-1536x1155.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-2048x1540.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Choose your own scents in Nova Studio’s candle making class. \u003ccite>(Olga Serjantu/Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Candle making\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.novastudio.info/\">Nova Studio\u003c/a>\u003c/em>\u003cbr>\n\u003cem>223 2nd St., Los Altos\u003c/em>\u003cbr>\n\u003ci>$65\u003c/i>\u003c/p>\n\u003cp>These 90-minute classes — taking place on Thursdays, Fridays and Saturdays all summer — don’t just teach the basics of candle pouring. They also provide a space where students can make something entirely to their own tastes.\u003c/p>\n\u003cp>Nova instructors teach participants how to blend natural soy wax from scratch, and also provide crystals, dried flowers, charms and scents so that each candle is unique to its creator. There are even a wide variety of candle vessels to choose from. Given the high cost of store-bought scented candles, your new skills may come in handy when birthdays and holidays roll around.\u003c/p>\n\u003cfigure id=\"attachment_13988723\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988723 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dinh-pham-dG35-kUxv34-unsplash.jpg\" alt=\"A red, white and blue quilt covered with thread, scissors and other quilting materials.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dinh-pham-dG35-kUxv34-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dinh-pham-dG35-kUxv34-unsplash-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dinh-pham-dG35-kUxv34-unsplash-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dinh-pham-dG35-kUxv34-unsplash-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Learn to sew like your great-grammy did with quilting instruction. \u003ccite>(Dinh Pham/Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Quilting\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/quilters-workshop-tickets-1987745043935?aff=odcleoeventsincollection\">Napa Valley College\u003c/a>\u003c/em>\u003cbr>\n\u003cem>1088 College Ave., St. Helena\u003c/em>\u003cbr>\n\u003ci>$51\u003c/i>\u003c/p>\n\u003cp>In 2026, environmentally minded humans are constantly looking for sustainable solutions to fast fashion and rampant consumerism. As upcycling old clothes into other usable forms becomes increasingly popular, quilting offers a creative but accessible way to reduce fabric waste.\u003c/p>\n\u003cp>This summer, expert quilter Julie Bolander is offering guidance to beginners (and other quilters who need assistance) with regular afternoon gatherings at Napa Valley College. These sessions take place between June 15 and Aug. 3; quilters are asked to bring their own tools and materials, and pre-registration is required. If nothing else, you’ll probably meet some other lovely folks who are trying to save the world, one discarded pillowcase at a time.\u003c/p>\n\u003cfigure id=\"attachment_13988720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988720 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making.jpg\" alt=\"Young woman jewelry designer creating necklace and working at table in the studio.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In need of a new side hustle? Jewelry-making awaits. \u003ccite>(Galina Zhigalova/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jewelry making\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.beadinspirations.com/private-lesson-1-hour-1-person.html\">Bead Inspirations\u003c/a>\u003c/em>\u003cbr>\n\u003cem>1544 Park St., Alameda\u003c/em>\u003cbr>\n\u003ci>Free/$60\u003c/i>\u003c/p>\n\u003cp>Whether you want to make beaded jewelry as a creative outlet, or start selling your designs as a side hustle, Alameda’s Bead Inspirations is a one-stop shop designed to get you started. The store holds free, two-hour workshops every Friday at 3 p.m., but one-on-one instruction is available by booking a private one-hour lesson for $60.\u003c/p>\n\u003cp>The makers at Bead Inspirations teach the basics of stringing and beading, earring construction, wrap bracelet-making, filigree wrapping, crimping necklaces, as well as the best ways to attach clasps and jump rings. Participants don’t need to bring anything with them to class, but anyone who feels they’ve found their new calling can get a same-day 10% discount on tools and materials in the store.\u003c/p>\n\u003cfigure id=\"attachment_13988724\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988724 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jesus-arango-IxDfHW38BI8-unsplash.jpg\" alt=\"Close up of a lamp made of blue and multicolored glass pieces. \" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jesus-arango-IxDfHW38BI8-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jesus-arango-IxDfHW38BI8-unsplash-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jesus-arango-IxDfHW38BI8-unsplash-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jesus-arango-IxDfHW38BI8-unsplash-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ever wanted to make one of these? Now you can … try! \u003ccite>(Jesus Arango/Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mosaic Lamp Workshop\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.craftforteam.com/turkish-mosaic-lamp-workshop-in-san-francisco\">Art Studio SoMa\u003c/a>\u003c/em>\u003cbr>\n\u003cem>360 Ritch St. #205, San Francisco\u003c/em>\u003cbr>\n\u003ci>$89\u003c/i>\u003c/p>\n\u003cp>If, like me, you feel intimidated at the prospect of mosaicking an entire Turkish lamp competently in the span of two hours, keep in mind that this class is open to anyone aged 7 and over. If the kids can do it, so can we! (Probably?)\u003c/p>\n\u003cp>This Art Workshops class provides everything you need, including tools, 16 colors of glass, step-by-step guidance \u003cem>and\u003c/em> light refreshments. Keep in mind that the lamp that you ultimately make is yours to take home and stare at forever, so you might want to hit \u003ca href=\"https://www.pinterest.com/ideas/mosaic-lamp-patterns/940310604958/\">Pinterest\u003c/a> and come up with a vague design goal before you go.\u003c/p>\n\u003cfigure id=\"attachment_13988729\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988729 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/charlota-blunarova-U7ud6KGrsRQ-unsplash.jpg\" alt=\"A collage of random images from magazines including women, men, robots and toys. \" width=\"2000\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/charlota-blunarova-U7ud6KGrsRQ-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/charlota-blunarova-U7ud6KGrsRQ-unsplash-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/charlota-blunarova-U7ud6KGrsRQ-unsplash-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/charlota-blunarova-U7ud6KGrsRQ-unsplash-1536x979.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collage curious? Join The Cut and Paste Society. \u003ccite>(Charlota Blunarova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Collage\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.theexchangevallejo.com/events-workshops/p/milk-dip-cup-92wf6-abmpj-fpfgs\">The Exchange\u003c/a>\u003c/em>\u003cbr>\n\u003cem>617 Marin St., Vallejo\u003c/em>\u003cbr>\n\u003ci>$40\u003c/i>\u003c/p>\n\u003cp>The Cut and Paste Society is a monthly gathering of paper-cutting maniacs on a mission to remix existing forms into thought-provoking new ones. The group welcomes experienced creatives and the collage-curious alike, and provides everything you need to get started. This includes old printed materials, paints and other decorations, cutting tools and — should you be a beginner — helpful tips. Attendees are encouraged to bring any images they feel like working with.\u003c/p>\n\u003cp>The Cut and Paste Society’s summer meeting dates are June 4, July 2, Aug. 6 and Sept. 3. This welcoming bunch especially wants to meet visual storytellers and those who love to experiment. Book early — these sessions often sell out.\u003c/p>\n\u003cfigure id=\"attachment_13988731\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988731 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/rug-tufting.png\" alt=\"A group of students in a classroom smile and hold up art projects made from tufted fabric.\" width=\"2000\" height=\"1327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/rug-tufting.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/rug-tufting-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/rug-tufting-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/rug-tufting-1536x1019.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Grab a yarn gun and get tufting in San Jose. \u003ccite>(Courtesy of Art Workshops San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rug tufting\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.craftforteam.com/rug-tufting-workshop-in-san-jose\">San Jose Art and Craft Studio\u003c/a>\u003c/em>\u003cbr>\n\u003cem>255 N. Market St., Suite 270, San Jose\u003c/em>\u003cbr>\n\u003ci>$89\u003c/i>\u003c/p>\n\u003cp>You might be wondering what on Earth rug tufting is and whether or not it has anything to do with those unruly shag carpets that continue to haunt the dreams of Gen X-ers everywhere. Fear not, for this is altogether cuter — \u003cem>and\u003c/em> a lot more fun on account of the fact that there’s a yarn gun involved.\u003c/p>\n\u003cp>This oh-so-wholesome class provides all tools and materials, then walks fluff enthusiasts, step-by-step, through the tricks of creating their own miniature rug or tactile wallhanging. Advice is provided about realistic designs for beginners and the best methods to put yarn to canvas safely and effectively. After a couple of hours of practice and tufting fun, makers then move onto the gluing, backing and shaving work that will leave them with a polished final piece. Extra bonus? Free tea and refreshments are served throughout.\u003c/p>\n\u003cfigure id=\"attachment_13988727\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988727 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/courtney-cook-QRVSQH7OeX4-unsplash.jpg\" alt=\"A close-up of clay covered hands working a cup on a potters wheel.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/courtney-cook-QRVSQH7OeX4-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/courtney-cook-QRVSQH7OeX4-unsplash-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/courtney-cook-QRVSQH7OeX4-unsplash-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/courtney-cook-QRVSQH7OeX4-unsplash-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Insert ‘Unchained Melody’ by The Righteous Brothers here. \u003ccite>(Courtney Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Clay throwing\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://nimbusarts.asapconnected.com/?org=1017#CourseID=16713\">Nimbus Arts\u003c/a>\u003c/em>\u003cbr>\n\u003cem>649 Main St., St. Helena\u003c/em>\u003cbr>\n\u003ci>$70\u003c/i>\u003c/p>\n\u003cp>If you’re not trying to get addicted to an expensive hobby, this is a risky one to start! That being said, this hand-building and wheel-throwing class is a very therapeutic way to spend three hours on a Monday or Wednesday evening.\u003c/p>\n\u003cp>Instructor \u003ca href=\"https://www.amandawrightpottery.com/\">Amanda Wright\u003c/a> is a stoneware artist who creates thoroughly modern pieces. While she’ll be teaching the basics of pottery — how to shape bowls, bottles, vases and more — we expect she’ll also encourage boundary-pushing expression, should inspiration take over. There are only six wheels in the class, so don’t forget to pre-register!\u003c/p>\n\u003cfigure id=\"attachment_13988728\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988728 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/anshu-a-JzY97tKL_oM-unsplash.jpg\" alt=\"Three sealed jars lined up in a row, containing pickles, onions and cabbage.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/anshu-a-JzY97tKL_oM-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/anshu-a-JzY97tKL_oM-unsplash-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/anshu-a-JzY97tKL_oM-unsplash-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/anshu-a-JzY97tKL_oM-unsplash-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Like pickling? You’re going to love fermentation! \u003ccite>(Anshu A/Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fermentation\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/events/69b0d5f8b48451fc3c081296\">Oakland Library\u003c/a>, Piedmont Avenue Branch\u003c/em>\u003cbr>\n\u003cem>80 Echo Ave., Oakland\u003c/em>\u003cbr>\n\u003ci>Free\u003c/i>\u003c/p>\n\u003cp>In the course of their career, chef Alia Fakhry has created dishes in every conceivable venue: fancy hotels, Hornblower cruises, brewpubs, Facebook HQ and, right now, their own \u003ca href=\"https://www.instagram.com/turnipthatbeet\">Turnip That Beet\u003c/a> custom meal prep service, based out of Oakland. Now that the former Ivory Coast resident has tried everything, they’ve landed on their greatest passion: seasonal, organic, small-batch culinary creations.\u003c/p>\n\u003cp>For their two-hour event at the Oakland Library on June 9 (starting at 4 p.m.), Fakhry plans to share their know-how and enthusiasm about DIY fermentation, enabling individuals to preserve their own food deliciously. The class is, fittingly enough, presented by \u003ca href=\"https://oaklandbloom.org/about/\">Oakland Bloom\u003c/a>, an organization whose mission is economic equity in the food industry. You’re one class away from making your own kimchi and sauerkraut — and becoming the most intriguing person at this summer’s cookout.\u003c/p>\n\u003cfigure id=\"attachment_13989063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989063 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/richard-bell-wXjmfNeyN48-unsplash.jpg\" alt=\"A wall of colorful Portuguese tiles in different blue, white and red geometric patterns.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/richard-bell-wXjmfNeyN48-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/richard-bell-wXjmfNeyN48-unsplash-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/richard-bell-wXjmfNeyN48-unsplash-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/richard-bell-wXjmfNeyN48-unsplash-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Examples of Portuguese-style tile designs. \u003ccite>(Richard Bell/Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Portuguese tile painting\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.jiarencafe.com/eventcalendar\">Jiaren Cafe\u003c/a>\u003c/em>\u003cbr>\n\u003cem>1171 Homestead Rd. #140B, Santa Clara\u003c/em>\u003cbr>\n\u003ci>$60\u003c/i>\u003c/p>\n\u003cp>This June, the artisans of \u003ca href=\"https://www.alzuleycha.com/\">Alzuleycha\u003c/a> will be spending every Monday evening (starting at 7 p.m.) helming classes in tile-painting at the Jiaren Cafe. Alzuleycha, inspired by Portuguese architecture, will briefly teach the class about the aesthetic history of this art form before painting commences.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Two tiles will be provided per student, as well as painting supplies, stencils and expert guidance throughout the process. Beginners (starting from 8 years old!) are as welcome as experienced painters. Get ready for homework though: after you’ve painted your tiles, they must be left to dry for 24 hours, then baked for 30 minutes in an oven at 350°F. Saúde!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story is part of \u003ca href=\"https://www.kqed.org/affordability\">How We Get By\u003c/a>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003ca href=\"https://www.kqed.org/affordability\">full series here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>Last year, KQED Forum did a show about “\u003ca href=\"https://www.kqed.org/forum/2010101909839/have-you-been-priced-out-of-a-hobby\">hobby inflation\u003c/a>,” in which Mina Kim and her guests explored the increasing difficulty for many people to afford creative activities in their spare time.\u003c/p>\n\u003cp>In the interest of making sure more of us can nurture our artistic impulses, we’ve tracked down 10 crafty Bay Area summer classes that cost less than $100 each. All of them offer opportunities to learn fun new skills without breaking the bank.\u003c/p>\n\u003cfigure id=\"attachment_13988730\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988730 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/postcard-embroidery.png\" alt=\"A postcard featuring a seagull and the words 'Greetings from California' that's been enhanced by embroidery stitching.\" width=\"2000\" height=\"1311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/postcard-embroidery.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/postcard-embroidery-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/postcard-embroidery-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/postcard-embroidery-1536x1007.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carry on a Victorian tradition by beautifying your postcards with embroidery. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Embroidering postcards\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfcb.org/workshops/detail?coursestormCourseId=1f25cddc35fc11f185ff0affe5650d13\">San Francisco Center for the Book\u003c/a>\u003c/em>\u003cbr>\n\u003cem>Online workshop\u003c/em>\u003cbr>\n\u003ci>$75\u003c/i>\u003c/p>\n\u003cp>Artist and writer Hope Amico has been operating \u003ca href=\"https://hopeamico.com/store/keep-writing-project\">a pen pal postcard subscription service\u003c/a> since 2008. Not only is Amico passionate about sending physical mail, they’ve invested in making it as beautiful as possible. Makes sense, then, that they’re running this 3-hour class for the San Francisco Center for the Book that teaches participants how to embellish their mail with embroidery — an art form that has been around since the Victorian era.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amico will provide PDF instructions, teach the basics of sewing on paper, demonstrate different kinds of stitches and guide a practice session. Students are asked to join the class on Aug. 11 at 4 p.m. armed with two embroidery needles, three colors of embroidery thread, an \u003ca href=\"https://www.merriam-webster.com/dictionary/awl\">awl\u003c/a>, two postcards, scissors, a ruler and a pencil. Happy stitching, everyone!\u003c/p>\n\u003cfigure id=\"attachment_13988721\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988721 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-scaled.jpg\" alt=\"A selection of small candles in various glass receptacles, complete with herbs and petals.\" width=\"2560\" height=\"1925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-2000x1504.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-1536x1155.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/olga-serjantu-u_6zJvn7XtY-unsplash-2048x1540.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Choose your own scents in Nova Studio’s candle making class. \u003ccite>(Olga Serjantu/Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Candle making\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.novastudio.info/\">Nova Studio\u003c/a>\u003c/em>\u003cbr>\n\u003cem>223 2nd St., Los Altos\u003c/em>\u003cbr>\n\u003ci>$65\u003c/i>\u003c/p>\n\u003cp>These 90-minute classes — taking place on Thursdays, Fridays and Saturdays all summer — don’t just teach the basics of candle pouring. They also provide a space where students can make something entirely to their own tastes.\u003c/p>\n\u003cp>Nova instructors teach participants how to blend natural soy wax from scratch, and also provide crystals, dried flowers, charms and scents so that each candle is unique to its creator. There are even a wide variety of candle vessels to choose from. Given the high cost of store-bought scented candles, your new skills may come in handy when birthdays and holidays roll around.\u003c/p>\n\u003cfigure id=\"attachment_13988723\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988723 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dinh-pham-dG35-kUxv34-unsplash.jpg\" alt=\"A red, white and blue quilt covered with thread, scissors and other quilting materials.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dinh-pham-dG35-kUxv34-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dinh-pham-dG35-kUxv34-unsplash-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dinh-pham-dG35-kUxv34-unsplash-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/dinh-pham-dG35-kUxv34-unsplash-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Learn to sew like your great-grammy did with quilting instruction. \u003ccite>(Dinh Pham/Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Quilting\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/quilters-workshop-tickets-1987745043935?aff=odcleoeventsincollection\">Napa Valley College\u003c/a>\u003c/em>\u003cbr>\n\u003cem>1088 College Ave., St. Helena\u003c/em>\u003cbr>\n\u003ci>$51\u003c/i>\u003c/p>\n\u003cp>In 2026, environmentally minded humans are constantly looking for sustainable solutions to fast fashion and rampant consumerism. As upcycling old clothes into other usable forms becomes increasingly popular, quilting offers a creative but accessible way to reduce fabric waste.\u003c/p>\n\u003cp>This summer, expert quilter Julie Bolander is offering guidance to beginners (and other quilters who need assistance) with regular afternoon gatherings at Napa Valley College. These sessions take place between June 15 and Aug. 3; quilters are asked to bring their own tools and materials, and pre-registration is required. If nothing else, you’ll probably meet some other lovely folks who are trying to save the world, one discarded pillowcase at a time.\u003c/p>\n\u003cfigure id=\"attachment_13988720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988720 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making.jpg\" alt=\"Young woman jewelry designer creating necklace and working at table in the studio.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In need of a new side hustle? Jewelry-making awaits. \u003ccite>(Galina Zhigalova/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jewelry making\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.beadinspirations.com/private-lesson-1-hour-1-person.html\">Bead Inspirations\u003c/a>\u003c/em>\u003cbr>\n\u003cem>1544 Park St., Alameda\u003c/em>\u003cbr>\n\u003ci>Free/$60\u003c/i>\u003c/p>\n\u003cp>Whether you want to make beaded jewelry as a creative outlet, or start selling your designs as a side hustle, Alameda’s Bead Inspirations is a one-stop shop designed to get you started. The store holds free, two-hour workshops every Friday at 3 p.m., but one-on-one instruction is available by booking a private one-hour lesson for $60.\u003c/p>\n\u003cp>The makers at Bead Inspirations teach the basics of stringing and beading, earring construction, wrap bracelet-making, filigree wrapping, crimping necklaces, as well as the best ways to attach clasps and jump rings. Participants don’t need to bring anything with them to class, but anyone who feels they’ve found their new calling can get a same-day 10% discount on tools and materials in the store.\u003c/p>\n\u003cfigure id=\"attachment_13988724\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988724 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jesus-arango-IxDfHW38BI8-unsplash.jpg\" alt=\"Close up of a lamp made of blue and multicolored glass pieces. \" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jesus-arango-IxDfHW38BI8-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jesus-arango-IxDfHW38BI8-unsplash-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jesus-arango-IxDfHW38BI8-unsplash-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jesus-arango-IxDfHW38BI8-unsplash-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ever wanted to make one of these? Now you can … try! \u003ccite>(Jesus Arango/Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mosaic Lamp Workshop\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.craftforteam.com/turkish-mosaic-lamp-workshop-in-san-francisco\">Art Studio SoMa\u003c/a>\u003c/em>\u003cbr>\n\u003cem>360 Ritch St. #205, San Francisco\u003c/em>\u003cbr>\n\u003ci>$89\u003c/i>\u003c/p>\n\u003cp>If, like me, you feel intimidated at the prospect of mosaicking an entire Turkish lamp competently in the span of two hours, keep in mind that this class is open to anyone aged 7 and over. If the kids can do it, so can we! (Probably?)\u003c/p>\n\u003cp>This Art Workshops class provides everything you need, including tools, 16 colors of glass, step-by-step guidance \u003cem>and\u003c/em> light refreshments. Keep in mind that the lamp that you ultimately make is yours to take home and stare at forever, so you might want to hit \u003ca href=\"https://www.pinterest.com/ideas/mosaic-lamp-patterns/940310604958/\">Pinterest\u003c/a> and come up with a vague design goal before you go.\u003c/p>\n\u003cfigure id=\"attachment_13988729\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988729 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/charlota-blunarova-U7ud6KGrsRQ-unsplash.jpg\" alt=\"A collage of random images from magazines including women, men, robots and toys. \" width=\"2000\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/charlota-blunarova-U7ud6KGrsRQ-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/charlota-blunarova-U7ud6KGrsRQ-unsplash-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/charlota-blunarova-U7ud6KGrsRQ-unsplash-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/charlota-blunarova-U7ud6KGrsRQ-unsplash-1536x979.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collage curious? Join The Cut and Paste Society. \u003ccite>(Charlota Blunarova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Collage\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.theexchangevallejo.com/events-workshops/p/milk-dip-cup-92wf6-abmpj-fpfgs\">The Exchange\u003c/a>\u003c/em>\u003cbr>\n\u003cem>617 Marin St., Vallejo\u003c/em>\u003cbr>\n\u003ci>$40\u003c/i>\u003c/p>\n\u003cp>The Cut and Paste Society is a monthly gathering of paper-cutting maniacs on a mission to remix existing forms into thought-provoking new ones. The group welcomes experienced creatives and the collage-curious alike, and provides everything you need to get started. This includes old printed materials, paints and other decorations, cutting tools and — should you be a beginner — helpful tips. Attendees are encouraged to bring any images they feel like working with.\u003c/p>\n\u003cp>The Cut and Paste Society’s summer meeting dates are June 4, July 2, Aug. 6 and Sept. 3. This welcoming bunch especially wants to meet visual storytellers and those who love to experiment. Book early — these sessions often sell out.\u003c/p>\n\u003cfigure id=\"attachment_13988731\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988731 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/rug-tufting.png\" alt=\"A group of students in a classroom smile and hold up art projects made from tufted fabric.\" width=\"2000\" height=\"1327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/rug-tufting.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/rug-tufting-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/rug-tufting-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/rug-tufting-1536x1019.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Grab a yarn gun and get tufting in San Jose. \u003ccite>(Courtesy of Art Workshops San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rug tufting\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.craftforteam.com/rug-tufting-workshop-in-san-jose\">San Jose Art and Craft Studio\u003c/a>\u003c/em>\u003cbr>\n\u003cem>255 N. Market St., Suite 270, San Jose\u003c/em>\u003cbr>\n\u003ci>$89\u003c/i>\u003c/p>\n\u003cp>You might be wondering what on Earth rug tufting is and whether or not it has anything to do with those unruly shag carpets that continue to haunt the dreams of Gen X-ers everywhere. Fear not, for this is altogether cuter — \u003cem>and\u003c/em> a lot more fun on account of the fact that there’s a yarn gun involved.\u003c/p>\n\u003cp>This oh-so-wholesome class provides all tools and materials, then walks fluff enthusiasts, step-by-step, through the tricks of creating their own miniature rug or tactile wallhanging. Advice is provided about realistic designs for beginners and the best methods to put yarn to canvas safely and effectively. After a couple of hours of practice and tufting fun, makers then move onto the gluing, backing and shaving work that will leave them with a polished final piece. Extra bonus? Free tea and refreshments are served throughout.\u003c/p>\n\u003cfigure id=\"attachment_13988727\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988727 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/courtney-cook-QRVSQH7OeX4-unsplash.jpg\" alt=\"A close-up of clay covered hands working a cup on a potters wheel.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/courtney-cook-QRVSQH7OeX4-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/courtney-cook-QRVSQH7OeX4-unsplash-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/courtney-cook-QRVSQH7OeX4-unsplash-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/courtney-cook-QRVSQH7OeX4-unsplash-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Insert ‘Unchained Melody’ by The Righteous Brothers here. \u003ccite>(Courtney Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Clay throwing\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://nimbusarts.asapconnected.com/?org=1017#CourseID=16713\">Nimbus Arts\u003c/a>\u003c/em>\u003cbr>\n\u003cem>649 Main St., St. Helena\u003c/em>\u003cbr>\n\u003ci>$70\u003c/i>\u003c/p>\n\u003cp>If you’re not trying to get addicted to an expensive hobby, this is a risky one to start! That being said, this hand-building and wheel-throwing class is a very therapeutic way to spend three hours on a Monday or Wednesday evening.\u003c/p>\n\u003cp>Instructor \u003ca href=\"https://www.amandawrightpottery.com/\">Amanda Wright\u003c/a> is a stoneware artist who creates thoroughly modern pieces. While she’ll be teaching the basics of pottery — how to shape bowls, bottles, vases and more — we expect she’ll also encourage boundary-pushing expression, should inspiration take over. There are only six wheels in the class, so don’t forget to pre-register!\u003c/p>\n\u003cfigure id=\"attachment_13988728\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988728 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/anshu-a-JzY97tKL_oM-unsplash.jpg\" alt=\"Three sealed jars lined up in a row, containing pickles, onions and cabbage.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/anshu-a-JzY97tKL_oM-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/anshu-a-JzY97tKL_oM-unsplash-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/anshu-a-JzY97tKL_oM-unsplash-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/anshu-a-JzY97tKL_oM-unsplash-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Like pickling? You’re going to love fermentation! \u003ccite>(Anshu A/Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fermentation\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/events/69b0d5f8b48451fc3c081296\">Oakland Library\u003c/a>, Piedmont Avenue Branch\u003c/em>\u003cbr>\n\u003cem>80 Echo Ave., Oakland\u003c/em>\u003cbr>\n\u003ci>Free\u003c/i>\u003c/p>\n\u003cp>In the course of their career, chef Alia Fakhry has created dishes in every conceivable venue: fancy hotels, Hornblower cruises, brewpubs, Facebook HQ and, right now, their own \u003ca href=\"https://www.instagram.com/turnipthatbeet\">Turnip That Beet\u003c/a> custom meal prep service, based out of Oakland. Now that the former Ivory Coast resident has tried everything, they’ve landed on their greatest passion: seasonal, organic, small-batch culinary creations.\u003c/p>\n\u003cp>For their two-hour event at the Oakland Library on June 9 (starting at 4 p.m.), Fakhry plans to share their know-how and enthusiasm about DIY fermentation, enabling individuals to preserve their own food deliciously. The class is, fittingly enough, presented by \u003ca href=\"https://oaklandbloom.org/about/\">Oakland Bloom\u003c/a>, an organization whose mission is economic equity in the food industry. You’re one class away from making your own kimchi and sauerkraut — and becoming the most intriguing person at this summer’s cookout.\u003c/p>\n\u003cfigure id=\"attachment_13989063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989063 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/richard-bell-wXjmfNeyN48-unsplash.jpg\" alt=\"A wall of colorful Portuguese tiles in different blue, white and red geometric patterns.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/richard-bell-wXjmfNeyN48-unsplash.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/richard-bell-wXjmfNeyN48-unsplash-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/richard-bell-wXjmfNeyN48-unsplash-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/richard-bell-wXjmfNeyN48-unsplash-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Examples of Portuguese-style tile designs. \u003ccite>(Richard Bell/Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Portuguese tile painting\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.jiarencafe.com/eventcalendar\">Jiaren Cafe\u003c/a>\u003c/em>\u003cbr>\n\u003cem>1171 Homestead Rd. #140B, Santa Clara\u003c/em>\u003cbr>\n\u003ci>$60\u003c/i>\u003c/p>\n\u003cp>This June, the artisans of \u003ca href=\"https://www.alzuleycha.com/\">Alzuleycha\u003c/a> will be spending every Monday evening (starting at 7 p.m.) helming classes in tile-painting at the Jiaren Cafe. Alzuleycha, inspired by Portuguese architecture, will briefly teach the class about the aesthetic history of this art form before painting commences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two tiles will be provided per student, as well as painting supplies, stencils and expert guidance throughout the process. Beginners (starting from 8 years old!) are as welcome as experienced painters. Get ready for homework though: after you’ve painted your tiles, they must be left to dry for 24 hours, then baked for 30 minutes in an oven at 350°F. Saúde!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebrate the Grit and Glory of ‘25 Years of Hamburger Eyes’ at the SF Public Library",
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"content": "\u003cp>If you were a Bay Area dirtbag in the early 2000s, you likely remember the thrill of seeing your people, your neighborhoods and your more nefarious activities reflected back at you in the street photography of the period. \u003cem>Vice\u003c/em> magazine is usually credited with popularizing the unfiltered and uncompromising aesthetic, but Bay Area photographers were arguably the underground leaders.\u003c/p>\n\u003cp>[aside postid='arts_13983681']At the forefront was \u003cem>\u003ca href=\"https://www.kqed.org/arts/10802/hamburger_eyes_the_odyssey\">Hamburger Eyes\u003c/a>\u003c/em>, a fanzine that captured and celebrated the everyday realities of city living in black-and-white candids. Founder and editor Ray Potes arrived in San Francisco (from San Diego) in 2003 and quickly began printing his zine on a Heidelberg press, with the assistance of his brother David. By 2007, Potes and his close collaborator Stefan Simikich had also set up the Photo Epicenter in the Mission District — an art gallery, dark room and social space. A year later came the first \u003cem>Hamburger Eyes\u003c/em> book: \u003ca href=\"https://powerhousebooks.com/books/hamburger-eyes-inside-burgerworld/\">\u003cem>Inside Burgerworld\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Potes has helmed or assisted countless photo projects in the time since, including his side project zine \u003cem>\u003ca href=\"https://rumorbooks.com/products/the-best-of-celly-brian-vol-3-hamburger-eyes\">Celly Brain\u003c/a>\u003c/em> which, for a time, offered an online cellphone photo portal that pre-dated Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13988956\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988956 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg\" alt=\"A woman lies with her upper face obscured by her own arm which is raised to reveal a hairy armpit. She sticks her tongue out.\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Tobin Yelland, ‘The Changsta,’ 1992 in the Hamburger Eyes exhibit at the San Francisco Public Library. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five months, the San Francisco Public Library’s Jewett Gallery is exhibiting work by 83 photographers who have featured in the pages of \u003cem>Hamburger Eyes\u003c/em>. These shots start with \u003ca href=\"https://www.tedpushinskyphotography.com/\">Ted Pushinsky\u003c/a>’s early-’80s street photography and transport viewers up to the present day, via images of everything and anything you can think of. Like kids lined up on a fairground ride, a dog carrying around a dead pigeon and an entirely wrecked automobile on the side of the road, adorned with a “FREE CAR” sign. The show is a fitting reflection of the chaos that \u003cem>Hamburger Eyes\u003c/em> has always embraced.\u003c/p>\n\u003cp>As usual, Potes (with co-curator Megan Merritt) has leaned into curious juxtapositions for \u003cem>The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/em>. In one corner, a photo of an aging man showing off his torso of stick and poke tattoos sits underneath the image of posed, suburban family portraits discarded inside a dumpster. A cluster of microphone-wielding journalists sits directly above curious hands touching a giant yellow python. Near a shot of an old man sitting quietly in a laundromat is a photograph of a young man stuck halfway through a hole in a chainlink fence, while his skateboard waits patiently for him on the other side. It is a dizzying, consistently absorbing display.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Accompanying the anniversary celebration is a new book too. \u003cem>Hamburger Eyes — The First 25 Years\u003c/em> features 200 photographers, including the likes of \u003ca href=\"https://www.kqed.org/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer\">Dave Schubert\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13967132/tobin-yelland-skateboard-photography-san-francisco-deluxe-mission-dlx\">Tobin Yelland\u003c/a>, \u003ca href=\"https://www.instagram.com/tholden415/\">Troy Holden\u003c/a>, \u003ca href=\"https://www.instagram.com/teenwitchsf/\">Andrea Sonnenberg\u003c/a> and \u003cem>Mother Jones\u003c/em> photo director \u003ca href=\"https://www.markmurrmann.com/\">Mark Murrmann\u003c/a>. The work of Murrmann and Potes also features heavily in a free zine available only at the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13988971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg\" alt=\"A white man with receding hairline examines a wall covered with black and white photo magnets, arranged on a white door. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A display of magnetic photographs allows visitors to create their own sequences during the ‘Hamburger Eyes: The First 25 Years’ exhibition at the Jewett Gallery at the San Francisco Public Library. \u003ccite>(Gustavo Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The importance of Potes’ indefatigable work highlighting photo talent cannot be overstated. His commitment to DIY forms of visual expression is not limited to his own output either. At the KQED-sponsored \u003ca href=\"https://www.kqed.org/event/6104\">Night of Ideas\u003c/a> earlier this month, Potes helmed a zine-making workshop to encourage young creators to get involved. There is also a section at the library exhibit that offers visitors the chance to arrange a set of his magnetized photos into their own zine display.\u003c/p>\n\u003cp>For many of us who were first thrilled by the work in \u003cem>Hamburger Eyes\u003c/em> decades ago, our dirtbag days are firmly in the rearview. The fact that \u003cem>Hamburger Eyes\u003c/em> continues to survive and thrive on its own terms is truly an event to be celebrated.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfpl.org/exhibits/2026/04/23/continuing-story-life-earth-25-years-hamburger-eyes\">The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery through Sept. 24, 2026. The accompanying book ‘\u003ca href=\"https://hamburgereyes.com/2026/03/25/hamburger-eyes-the-first-25-years/\">Hamburger Eyes — The First 25 Years\u003c/a>’ is out now, via Roma Publications. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the forefront was \u003cem>\u003ca href=\"https://www.kqed.org/arts/10802/hamburger_eyes_the_odyssey\">Hamburger Eyes\u003c/a>\u003c/em>, a fanzine that captured and celebrated the everyday realities of city living in black-and-white candids. Founder and editor Ray Potes arrived in San Francisco (from San Diego) in 2003 and quickly began printing his zine on a Heidelberg press, with the assistance of his brother David. By 2007, Potes and his close collaborator Stefan Simikich had also set up the Photo Epicenter in the Mission District — an art gallery, dark room and social space. A year later came the first \u003cem>Hamburger Eyes\u003c/em> book: \u003ca href=\"https://powerhousebooks.com/books/hamburger-eyes-inside-burgerworld/\">\u003cem>Inside Burgerworld\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Potes has helmed or assisted countless photo projects in the time since, including his side project zine \u003cem>\u003ca href=\"https://rumorbooks.com/products/the-best-of-celly-brian-vol-3-hamburger-eyes\">Celly Brain\u003c/a>\u003c/em> which, for a time, offered an online cellphone photo portal that pre-dated Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13988956\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988956 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg\" alt=\"A woman lies with her upper face obscured by her own arm which is raised to reveal a hairy armpit. She sticks her tongue out.\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Tobin Yelland, ‘The Changsta,’ 1992 in the Hamburger Eyes exhibit at the San Francisco Public Library. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five months, the San Francisco Public Library’s Jewett Gallery is exhibiting work by 83 photographers who have featured in the pages of \u003cem>Hamburger Eyes\u003c/em>. These shots start with \u003ca href=\"https://www.tedpushinskyphotography.com/\">Ted Pushinsky\u003c/a>’s early-’80s street photography and transport viewers up to the present day, via images of everything and anything you can think of. Like kids lined up on a fairground ride, a dog carrying around a dead pigeon and an entirely wrecked automobile on the side of the road, adorned with a “FREE CAR” sign. The show is a fitting reflection of the chaos that \u003cem>Hamburger Eyes\u003c/em> has always embraced.\u003c/p>\n\u003cp>As usual, Potes (with co-curator Megan Merritt) has leaned into curious juxtapositions for \u003cem>The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/em>. In one corner, a photo of an aging man showing off his torso of stick and poke tattoos sits underneath the image of posed, suburban family portraits discarded inside a dumpster. A cluster of microphone-wielding journalists sits directly above curious hands touching a giant yellow python. Near a shot of an old man sitting quietly in a laundromat is a photograph of a young man stuck halfway through a hole in a chainlink fence, while his skateboard waits patiently for him on the other side. It is a dizzying, consistently absorbing display.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Accompanying the anniversary celebration is a new book too. \u003cem>Hamburger Eyes — The First 25 Years\u003c/em> features 200 photographers, including the likes of \u003ca href=\"https://www.kqed.org/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer\">Dave Schubert\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13967132/tobin-yelland-skateboard-photography-san-francisco-deluxe-mission-dlx\">Tobin Yelland\u003c/a>, \u003ca href=\"https://www.instagram.com/tholden415/\">Troy Holden\u003c/a>, \u003ca href=\"https://www.instagram.com/teenwitchsf/\">Andrea Sonnenberg\u003c/a> and \u003cem>Mother Jones\u003c/em> photo director \u003ca href=\"https://www.markmurrmann.com/\">Mark Murrmann\u003c/a>. The work of Murrmann and Potes also features heavily in a free zine available only at the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13988971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg\" alt=\"A white man with receding hairline examines a wall covered with black and white photo magnets, arranged on a white door. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A display of magnetic photographs allows visitors to create their own sequences during the ‘Hamburger Eyes: The First 25 Years’ exhibition at the Jewett Gallery at the San Francisco Public Library. \u003ccite>(Gustavo Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The importance of Potes’ indefatigable work highlighting photo talent cannot be overstated. His commitment to DIY forms of visual expression is not limited to his own output either. At the KQED-sponsored \u003ca href=\"https://www.kqed.org/event/6104\">Night of Ideas\u003c/a> earlier this month, Potes helmed a zine-making workshop to encourage young creators to get involved. There is also a section at the library exhibit that offers visitors the chance to arrange a set of his magnetized photos into their own zine display.\u003c/p>\n\u003cp>For many of us who were first thrilled by the work in \u003cem>Hamburger Eyes\u003c/em> decades ago, our dirtbag days are firmly in the rearview. The fact that \u003cem>Hamburger Eyes\u003c/em> continues to survive and thrive on its own terms is truly an event to be celebrated.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfpl.org/exhibits/2026/04/23/continuing-story-life-earth-25-years-hamburger-eyes\">The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery through Sept. 24, 2026. The accompanying book ‘\u003ca href=\"https://hamburgereyes.com/2026/03/25/hamburger-eyes-the-first-25-years/\">Hamburger Eyes — The First 25 Years\u003c/a>’ is out now, via Roma Publications. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "la-dona-corrientes-album-san-francisco",
"title": "La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’",
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"headTitle": "La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’ | KQED",
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"content": "\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\u003c/p>\n\u003cp>https://youtu.be/93ZK9i1wh5k?si=CcW-XD74gTUCrXqu\u003c/p>\n\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\u003c/p>\n\u003cp>https://youtu.be/3F5Jncvig3Y?si=AVUoLZOivTchyz0V\u003c/p>\n\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\u003c/p>\n\u003cp>https://youtu.be/fokeuzQS4Ac?si=dQD1kudLICbeW7FV\u003c/p>\n\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\u003c/p>\n\u003cp>https://youtu.be/y2a-_w4xRPU?si=1Y99SXRdE_WyMCZU\u003c/p>\n\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>La Doña performs at her \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">album release party at the UC Theatre\u003c/a> in Berkeley on May 15, followed by another concert on \u003ca href=\"https://www.harlows.com/event/buscabulla-x-la-do%c3%b1a/harlows/sacramento-california/\">May 17 at Harlow’s in Sacramento\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/93ZK9i1wh5k'\n title='//www.youtube.com/embed/93ZK9i1wh5k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3F5Jncvig3Y'\n title='//www.youtube.com/embed/3F5Jncvig3Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fokeuzQS4Ac'\n title='//www.youtube.com/embed/fokeuzQS4Ac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/y2a-_w4xRPU'\n title='//www.youtube.com/embed/y2a-_w4xRPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>La Doña performs at her \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">album release party at the UC Theatre\u003c/a> in Berkeley on May 15, followed by another concert on \u003ca href=\"https://www.harlows.com/event/buscabulla-x-la-do%c3%b1a/harlows/sacramento-california/\">May 17 at Harlow’s in Sacramento\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "celebrating-oaklands-betti-ono-gallery-a-decade-long-cultural-anchor",
"title": "Celebrating Oakland’s Betti Ono Gallery, a Decade-Long Cultural Anchor",
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"content": "\u003cp>From 2011 until 2021, the Betti Ono art gallery served as a community anchor in the heart of downtown Oakland. As a cultural incubator, it benefited a number of local and national creatives — myself included.\u003c/p>\n\u003cp>Inside the expansive windows of 1427 Broadway, the concept of the traditional white box gallery was flipped on its head.\u003c/p>\n\u003cp>Betti Ono showcased visual artists and musicians. It hosted joyous baby showers and somber vigils. It held lit parties and sultry poetry nights. It gave space to conversations about housing rights, and provided a home for multimedia pieces addressing the biggest social issues of the time.\u003c/p>\n\u003cp>When KQED launched \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">the \u003cem>Rightnowish\u003c/em> podcast\u003c/a>, it was the perfect venue for our first live event. The gallery, much like the podcast, was all about prioritizing art and community connections.\u003c/p>\n\u003cp>For a decade, some of the Bay Area’s most talented people frequented Betti Ono. In many ways, the people \u003cem>were\u003c/em> the art. Now, a documentary puts the significance of the gallery in its proper context.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?app=desktop&v=HC-asXWJ1vg&si=V1s6Qt3KoQRwCbXs\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=HC-asXWJ1vg&si=V1s6Qt3KoQRwCbXs\">\u003cem>Art and Everyday People: The Story of the Betti Ono Foundation\u003c/em>\u003c/a> charts the birth of Betti Ono, its impact and what’s next for the organization now, 15 years after its founding.\u003c/p>\n\u003cp>The short documentary film, directed by former KQED reporter \u003ca href=\"https://www.arianaproehl.com/\">Ariana Proehl\u003c/a>, shows “all the beautiful people” who frequented the space. Proehl predicts that \u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">the film’s free premiere this Wednesday at the New Parkway in Oakland\u003c/a> will be a much-needed reconvening of that community.\u003c/p>\n\u003cp>“It’s going to be a really great reunion for Betti Ono,” Proehl tells me during a video call, adding that right now, “we need some reminders of our power.”\u003c/p>\n\u003cp>One example of the film’s power is found in its photo montages, poetically presented over a score by Oakland-based musician and educator \u003ca href=\"https://chanelleignant.com/\">Chanelle Ignant\u003c/a>, also formerly of KQED.\u003c/p>\n\u003cp>[aside postID='arts_13810477']Each clip reveals a who’s-who of renowned artists, often smiling or sharing an embrace. Those include photographer \u003ca href=\"https://www.kqed.org/arts/13973477/photographer-brittsense-oakland-roots-coliseum\">Britt Sense\u003c/a>, singer \u003ca href=\"https://www.kqed.org/education/8355/8355\">Aisha Fukushima\u003c/a> and rapper \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">Ovrkast.\u003c/a>, multitalented radio host \u003ca href=\"https://www.kqed.org/arts/13878784/how-theater-prepared-this-artist-for-the-funeral-home\">Paris Warr\u003c/a>, augmented reality artist \u003ca href=\"https://www.kqed.org/arts/13958122/black-terminus-ar-says-new-tech-is-for-the-people\">Damien McDuffie\u003c/a>, cultural icon \u003ca href=\"https://www.kqed.org/arts/13986932/emory-douglas-black-panthers-interview-aaacc-san-francisco\">Emory Douglas\u003c/a>, visual artists \u003ca href=\"https://www.kqed.org/arts/13909758/rightnowish-biglove-karen-and-malik-seneferu\">Karen and Malik Seneferu\u003c/a> and more.\u003c/p>\n\u003cp>The “\u003ca href=\"https://stoptellingwomentosmile.com/\">Stop Telling Women to Smile\u003c/a>” social campaign by \u003ca href=\"https://tlynnfaz.com/\">Tatyana Fazlalizadeh\u003c/a>, a visual artist who had a residency at Betti Ono, exemplifies the international reach of the gallery’s diaspora.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.notonemoregirl.com/\">#NotOneMoreGirl\u003c/a> initiative, a push to end gender-based violence on public transit and a response to the killing of \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\">Nia Wilson\u003c/a>, underscores the gallery’s work locally.\u003c/p>\n\u003cp>And Betti Ono’s \u003ca href=\"https://www.bettiono.com/our-work-main/the-arts-and-civic-engagement-ace-youth-fellows\">Arts and Civic Engagement fellowship\u003c/a> (ACE), a space for youth to advance solutions to community issues, highlights the organization’s investment in the next generation.\u003c/p>\n\u003cfigure id=\"attachment_13988898\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard.png\" alt=\"An African American woman in a hat sitting while being interviewed. \" width=\"2000\" height=\"1121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-1536x861.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anyka Howard, founder of Betti Ono, discussing the gallery’s history and future. \u003ccite>(Ariana Proehl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film features conversations with muralist and printmaker \u003ca href=\"https://www.jessicasabogal.com\" target=\"_blank\" rel=\"noopener\">Jessica Sabogal\u003c/a> and photographer \u003ca href=\"http://www.kierrajohnson.com/\">Kierra Jenaé Johnson\u003c/a>, both of whom explain how the space incubated them as young artists and pushed them further in their careers.\u003c/p>\n\u003cp>Providing a larger context of Oakland in the 2010s are interviews with artist and curator \u003ca href=\"https://www.sh8peshiftyourlife.com/\">Zakiya Harris\u003c/a>, lyricist and educator \u003ca href=\"https://www.emceedodat.com/\">Davin “Do D.A.T.” Thompson\u003c/a> and journalist and author \u003ca href=\"https://www.kqed.org/author/earnold\">Eric K. Arnold\u003c/a>.\u003c/p>\n\u003cp>The three note that before Betti Ono, a rapidly changing downtown Oakland offered far too little space to the Black community largely responsible for the Town’s cultural currency. In the midst of those changes, Betti Ono founder \u003ca href=\"https://www.bettiono.com/team-anyka-howard\">Anyka Howard\u003c/a> returned to the Bay Area from Atlanta, bringing with her an appetite for community gatherings and artistic events.\u003c/p>\n\u003cp>Howard traces Betti Ono’s roots to 2010, when she started a weekly event called Smashbox Live, a “live arts experience that brings creative people together to network, collaborate, exchange ideas and also promote their practice.”\u003c/p>\n\u003cp>The idea took off, but the she was forced to change the name after receiving a cease-and-desist letter. She settled on a name inspired by funk singer and songwriter \u003ca href=\"https://www.npr.org/2022/02/13/1080151853/game-was-her-middle-name-the-world-was-never-ready-for-betty-davis\">Betty Davis\u003c/a> and multitalented artist and activist \u003ca href=\"https://www.tate.org.uk/art/artists/yoko-ono-1719\">Yoko Ono\u003c/a>. The two women, Howard says in the film, represented “this notion of smashing the box and challenging the status quo.”\u003c/p>\n\u003cfigure id=\"attachment_13988899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012.jpg\" alt=\"Eight people gather to take a photo inside of an art gallery. \" width=\"2000\" height=\"1329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-1536x1021.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Artists gather for a photo during a 2012 exhibition titled ‘What is Buried Is Not Lost’ at Betti Ono gallery in downtown Oakland. \u003ccite>(Courtesy of Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Howard opens up about her community work, and how it stems from generations of Black women committed to and caring for their people. As a child, Howard would accompany her great-grandmother as she visited the sick and infirm. She also watched her grandmother as she ran Richmond’s youth employment program, ensuring young people had summertime work.\u003c/p>\n\u003cp>“They weren’t waving flags,” Howard says in the film, discussing her family’s matriarchs. “They were just living in their truth.”\u003c/p>\n\u003cp>Through Betti Ono, Howard co-founded the \u003ca href=\"https://www.blacspace.coop/\">BlacSPACECooperative\u003c/a> and \u003ca href=\"https://eastbayexpress.com/oaklands-new-creative-neighborhoods-coalition-announces-first-meeting-2-1/\">the Oakland Creative Neighborhoods Coalition\u003c/a>. She pushed for cultural preservation, challenged city policy regarding arts funding and navigated instances of police scrutinizing large gatherings of people of color.\u003c/p>\n\u003cfigure id=\"attachment_13988900\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988900\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp.jpg\" alt=\"A large gathering of African American women artists pose for a photo inside of a gallery.\" width=\"2000\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-1536x982.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Betti Ono held over 60 exhibitions and public programs over the course of its 10-year run. \u003ccite>(Jon Crisp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery stood out amongst the changing face of Oakland by providing a space for creative communities to thrive, its backbone was that it was simply serving the people through art.\u003c/p>\n\u003cp>“That’s totally in line with what the Black Panthers were doing, what the Black Arts Movement was all about,” says Eric Arnold in the film. “This whole legacy of cultural arts in Oakland that goes back to the ’60s and ’70s, and really created a global movement that hasn’t stopped yet.”\u003c/p>\n\u003cp>In making the film, Proehl looked closely at how Betti Ono served the people, herself included.\u003c/p>\n\u003cp>A first-time filmmaker with a background in journalism and poetry, Proehl had wanted to make a film since the early 2000s, when she was enrolled as an ethnic studies student at UC Berkeley. She started off volunteering at the Women of Color Film Festival, an annual event at Berkeley’s Pacific Film Archive. “I ended up becoming a co-director and co-curator,” says Proehl. “At that point in time, I was like, ‘Oh, I really wanna make a documentary.’”\u003c/p>\n\u003cp>But desire and a camcorder weren’t enough. “I didn’t have the confidence, or the know-how,” reflects Proehl. When Howard and the Betti Ono team reached out for help telling the story of the organization ahead of its 15th anniversary, Proehl took it as a sign.\u003c/p>\n\u003cp>“It all culminates,” she says of her past work experience, informing this next step in her career. “I feel like I’m in my lane now, it feels really good.”\u003c/p>\n\u003cp>Her first move in that lane: telling the intimate story of one of the most significant spaces for artists in Oakland in the 15 years.\u003c/p>\n\u003cp>“Getting to see a woman’s — a Black woman’s vision,” says Proehl, describing Howard’s trajectory from simply wanting to “have an art night” to opening her own gallery and holding space for so many community members, “that’s just a beautiful thing.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">Art & Everyday People: The Story of the Betti Ono Foundation\u003c/a>‘ premieres on Wednesday, April 29, at 7 p.m. at the New Parkway Theater (474 24th St., Oakland). The screening will be followed by a Q&A with Anyka Howard and Ariana Proehl, hosted by Jada Imani.\u003c/em>\u003c/p>\n\u003cp>\u003cem>There will also be a post-screening reception at Night Heron, 1780 Telegraph Ave in Uptown Oakland. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more information \u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">check here.\u003c/a> \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From 2011 until 2021, the Betti Ono art gallery served as a community anchor in the heart of downtown Oakland. As a cultural incubator, it benefited a number of local and national creatives — myself included.\u003c/p>\n\u003cp>Inside the expansive windows of 1427 Broadway, the concept of the traditional white box gallery was flipped on its head.\u003c/p>\n\u003cp>Betti Ono showcased visual artists and musicians. It hosted joyous baby showers and somber vigils. It held lit parties and sultry poetry nights. It gave space to conversations about housing rights, and provided a home for multimedia pieces addressing the biggest social issues of the time.\u003c/p>\n\u003cp>When KQED launched \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">the \u003cem>Rightnowish\u003c/em> podcast\u003c/a>, it was the perfect venue for our first live event. The gallery, much like the podcast, was all about prioritizing art and community connections.\u003c/p>\n\u003cp>For a decade, some of the Bay Area’s most talented people frequented Betti Ono. In many ways, the people \u003cem>were\u003c/em> the art. Now, a documentary puts the significance of the gallery in its proper context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HC-asXWJ1vg'\n title='//www.youtube.com/embed/HC-asXWJ1vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=HC-asXWJ1vg&si=V1s6Qt3KoQRwCbXs\">\u003cem>Art and Everyday People: The Story of the Betti Ono Foundation\u003c/em>\u003c/a> charts the birth of Betti Ono, its impact and what’s next for the organization now, 15 years after its founding.\u003c/p>\n\u003cp>The short documentary film, directed by former KQED reporter \u003ca href=\"https://www.arianaproehl.com/\">Ariana Proehl\u003c/a>, shows “all the beautiful people” who frequented the space. Proehl predicts that \u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">the film’s free premiere this Wednesday at the New Parkway in Oakland\u003c/a> will be a much-needed reconvening of that community.\u003c/p>\n\u003cp>“It’s going to be a really great reunion for Betti Ono,” Proehl tells me during a video call, adding that right now, “we need some reminders of our power.”\u003c/p>\n\u003cp>One example of the film’s power is found in its photo montages, poetically presented over a score by Oakland-based musician and educator \u003ca href=\"https://chanelleignant.com/\">Chanelle Ignant\u003c/a>, also formerly of KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Each clip reveals a who’s-who of renowned artists, often smiling or sharing an embrace. Those include photographer \u003ca href=\"https://www.kqed.org/arts/13973477/photographer-brittsense-oakland-roots-coliseum\">Britt Sense\u003c/a>, singer \u003ca href=\"https://www.kqed.org/education/8355/8355\">Aisha Fukushima\u003c/a> and rapper \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">Ovrkast.\u003c/a>, multitalented radio host \u003ca href=\"https://www.kqed.org/arts/13878784/how-theater-prepared-this-artist-for-the-funeral-home\">Paris Warr\u003c/a>, augmented reality artist \u003ca href=\"https://www.kqed.org/arts/13958122/black-terminus-ar-says-new-tech-is-for-the-people\">Damien McDuffie\u003c/a>, cultural icon \u003ca href=\"https://www.kqed.org/arts/13986932/emory-douglas-black-panthers-interview-aaacc-san-francisco\">Emory Douglas\u003c/a>, visual artists \u003ca href=\"https://www.kqed.org/arts/13909758/rightnowish-biglove-karen-and-malik-seneferu\">Karen and Malik Seneferu\u003c/a> and more.\u003c/p>\n\u003cp>The “\u003ca href=\"https://stoptellingwomentosmile.com/\">Stop Telling Women to Smile\u003c/a>” social campaign by \u003ca href=\"https://tlynnfaz.com/\">Tatyana Fazlalizadeh\u003c/a>, a visual artist who had a residency at Betti Ono, exemplifies the international reach of the gallery’s diaspora.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.notonemoregirl.com/\">#NotOneMoreGirl\u003c/a> initiative, a push to end gender-based violence on public transit and a response to the killing of \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\">Nia Wilson\u003c/a>, underscores the gallery’s work locally.\u003c/p>\n\u003cp>And Betti Ono’s \u003ca href=\"https://www.bettiono.com/our-work-main/the-arts-and-civic-engagement-ace-youth-fellows\">Arts and Civic Engagement fellowship\u003c/a> (ACE), a space for youth to advance solutions to community issues, highlights the organization’s investment in the next generation.\u003c/p>\n\u003cfigure id=\"attachment_13988898\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard.png\" alt=\"An African American woman in a hat sitting while being interviewed. \" width=\"2000\" height=\"1121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Art-Everyday-People-Film-Still-Anyka-Howard-1536x861.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anyka Howard, founder of Betti Ono, discussing the gallery’s history and future. \u003ccite>(Ariana Proehl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film features conversations with muralist and printmaker \u003ca href=\"https://www.jessicasabogal.com\" target=\"_blank\" rel=\"noopener\">Jessica Sabogal\u003c/a> and photographer \u003ca href=\"http://www.kierrajohnson.com/\">Kierra Jenaé Johnson\u003c/a>, both of whom explain how the space incubated them as young artists and pushed them further in their careers.\u003c/p>\n\u003cp>Providing a larger context of Oakland in the 2010s are interviews with artist and curator \u003ca href=\"https://www.sh8peshiftyourlife.com/\">Zakiya Harris\u003c/a>, lyricist and educator \u003ca href=\"https://www.emceedodat.com/\">Davin “Do D.A.T.” Thompson\u003c/a> and journalist and author \u003ca href=\"https://www.kqed.org/author/earnold\">Eric K. Arnold\u003c/a>.\u003c/p>\n\u003cp>The three note that before Betti Ono, a rapidly changing downtown Oakland offered far too little space to the Black community largely responsible for the Town’s cultural currency. In the midst of those changes, Betti Ono founder \u003ca href=\"https://www.bettiono.com/team-anyka-howard\">Anyka Howard\u003c/a> returned to the Bay Area from Atlanta, bringing with her an appetite for community gatherings and artistic events.\u003c/p>\n\u003cp>Howard traces Betti Ono’s roots to 2010, when she started a weekly event called Smashbox Live, a “live arts experience that brings creative people together to network, collaborate, exchange ideas and also promote their practice.”\u003c/p>\n\u003cp>The idea took off, but the she was forced to change the name after receiving a cease-and-desist letter. She settled on a name inspired by funk singer and songwriter \u003ca href=\"https://www.npr.org/2022/02/13/1080151853/game-was-her-middle-name-the-world-was-never-ready-for-betty-davis\">Betty Davis\u003c/a> and multitalented artist and activist \u003ca href=\"https://www.tate.org.uk/art/artists/yoko-ono-1719\">Yoko Ono\u003c/a>. The two women, Howard says in the film, represented “this notion of smashing the box and challenging the status quo.”\u003c/p>\n\u003cfigure id=\"attachment_13988899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012.jpg\" alt=\"Eight people gather to take a photo inside of an art gallery. \" width=\"2000\" height=\"1329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/What-is-Buried-Is-Not-Lost-Karen-and-Malik-Seneferu-Exhibition-at-Betti-Ono-2012-1536x1021.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Artists gather for a photo during a 2012 exhibition titled ‘What is Buried Is Not Lost’ at Betti Ono gallery in downtown Oakland. \u003ccite>(Courtesy of Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Howard opens up about her community work, and how it stems from generations of Black women committed to and caring for their people. As a child, Howard would accompany her great-grandmother as she visited the sick and infirm. She also watched her grandmother as she ran Richmond’s youth employment program, ensuring young people had summertime work.\u003c/p>\n\u003cp>“They weren’t waving flags,” Howard says in the film, discussing her family’s matriarchs. “They were just living in their truth.”\u003c/p>\n\u003cp>Through Betti Ono, Howard co-founded the \u003ca href=\"https://www.blacspace.coop/\">BlacSPACECooperative\u003c/a> and \u003ca href=\"https://eastbayexpress.com/oaklands-new-creative-neighborhoods-coalition-announces-first-meeting-2-1/\">the Oakland Creative Neighborhoods Coalition\u003c/a>. She pushed for cultural preservation, challenged city policy regarding arts funding and navigated instances of police scrutinizing large gatherings of people of color.\u003c/p>\n\u003cfigure id=\"attachment_13988900\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988900\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp.jpg\" alt=\"A large gathering of African American women artists pose for a photo inside of a gallery.\" width=\"2000\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Brittani-Sensabaugh-Opening-1-Credit-Jon-Crisp-1536x982.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Betti Ono held over 60 exhibitions and public programs over the course of its 10-year run. \u003ccite>(Jon Crisp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery stood out amongst the changing face of Oakland by providing a space for creative communities to thrive, its backbone was that it was simply serving the people through art.\u003c/p>\n\u003cp>“That’s totally in line with what the Black Panthers were doing, what the Black Arts Movement was all about,” says Eric Arnold in the film. “This whole legacy of cultural arts in Oakland that goes back to the ’60s and ’70s, and really created a global movement that hasn’t stopped yet.”\u003c/p>\n\u003cp>In making the film, Proehl looked closely at how Betti Ono served the people, herself included.\u003c/p>\n\u003cp>A first-time filmmaker with a background in journalism and poetry, Proehl had wanted to make a film since the early 2000s, when she was enrolled as an ethnic studies student at UC Berkeley. She started off volunteering at the Women of Color Film Festival, an annual event at Berkeley’s Pacific Film Archive. “I ended up becoming a co-director and co-curator,” says Proehl. “At that point in time, I was like, ‘Oh, I really wanna make a documentary.’”\u003c/p>\n\u003cp>But desire and a camcorder weren’t enough. “I didn’t have the confidence, or the know-how,” reflects Proehl. When Howard and the Betti Ono team reached out for help telling the story of the organization ahead of its 15th anniversary, Proehl took it as a sign.\u003c/p>\n\u003cp>“It all culminates,” she says of her past work experience, informing this next step in her career. “I feel like I’m in my lane now, it feels really good.”\u003c/p>\n\u003cp>Her first move in that lane: telling the intimate story of one of the most significant spaces for artists in Oakland in the 15 years.\u003c/p>\n\u003cp>“Getting to see a woman’s — a Black woman’s vision,” says Proehl, describing Howard’s trajectory from simply wanting to “have an art night” to opening her own gallery and holding space for so many community members, “that’s just a beautiful thing.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">Art & Everyday People: The Story of the Betti Ono Foundation\u003c/a>‘ premieres on Wednesday, April 29, at 7 p.m. at the New Parkway Theater (474 24th St., Oakland). The screening will be followed by a Q&A with Anyka Howard and Ariana Proehl, hosted by Jada Imani.\u003c/em>\u003c/p>\n\u003cp>\u003cem>There will also be a post-screening reception at Night Heron, 1780 Telegraph Ave in Uptown Oakland. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information \u003ca href=\"https://www.eventbrite.com/e/premiere-art-everyday-people-the-story-of-the-betti-ono-foundation-tickets-1986571180879\">check here.\u003c/a> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Víkingur Ólafsson Talks Bach, Nature and the Bay Area",
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"content": "\u003cp>The Icelandic pianist Víkingur Ólafsson is one of the world’s most engrossing live performers of \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical piano music\u003c/a> right now. Dazzling yet nuanced, he visited the Bay Area twice last year: to \u003ca href=\"https://www.kqed.org/arts/13970454/john-adams-piano-concerto-vikingur-olafsson-san-francisco-symphony-review\">premiere an exciting new John Adams concerto\u003c/a> and to pull off \u003ca href=\"https://www.kqed.org/arts/13972538/review-vikingur-olafsson-goldberg-variations-davies-yuja-wang-canceled\">Bach’s Goldberg Variations from memory in a last-minute program switcheroo\u003c/a>.\u003c/p>\n\u003cp>The Goldberg Variations, in particular, rewired Ólafsson’s consciousness after performing them for more than a year in concert halls around the world: “Slowly, the work takes over your perception of reality, forcing you to notice how, really, everything can be viewed as a set of variations,” he says. “Places, events, people. Trees, leaves, houses, streets. Thoughts and ideas. Cells and DNA.”\u003c/p>\n\u003cp>Now, on a recent album on Deutsche Grammophon and \u003ca href=\"https://calperformances.org/events/2025-26/recital/vikingur-olafsson-piano-opus-109/\">in a concert this week presented by Cal Performances at Berkeley’s Zellerbach Hall\u003c/a>, the widely lauded 42-year-old pianist directs his attention to Beethoven’s Piano Sonata No. 30, adding context of Bach and Schubert to show the threads of imagination among three composers.\u003c/p>\n\u003cp>Ólafsson spoke with KQED about the Bay Area, his process and his home country of Iceland.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988880\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans.jpg\" alt=\"\" width=\"1637\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-768x938.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-1257x1536.jpg 1257w\" sizes=\"auto, (max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Víkingur Ólafsson. \u003ccite>(Markus Jans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: You keep coming back to the Bay Area. What are your general impressions of the region?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Víkingur Ólafsson\u003c/strong>: I love it so much. I could live there if it wasn’t so far away from home. It’s a perfect place. It has some of the most interesting people. And of course, it has one of the people who is dearest to me in the whole music world, \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>. When I come to the Bay Area, I’m looking forward to it every time. I know I’ll have good conversations, excellent food and, hopefully, good performances.\u003c/p>\n\u003cp>I like Japantown — I very much like the restaurants there, and the vibe. The time before last when I was there, I went hiking, and it was just so wonderful. The coffee in the Bay Area is so excellent that you can almost go into any coffee shop, and this is unusual for the United States, but you can really get fabulous coffee everywhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>You premiered John Adams’ newest concerto here. What is it like working with John Adams?\u003c/strong>\u003c/p>\n\u003cp>He’s the kind of composer that reinvents himself in every piece. You never know what you’re gonna get, except that it’s gonna be beautiful and fantastic, because he’s such an incredible creator in that sense. I was so excited by that, him writing a piece for me — the honor of my musical life, really. I have such high regard for this man on all levels. As a composer, but also just a musical thinker in general. It’s fantastic to talk with him about Debussy, or Bach or Beethoven.\u003c/p>\n\u003cp>[aside postID='arts_13970454']It helps that I have a very good relationship with him and consider him a dear friend, and an ally. We’ve known each other now for five years and spent time together in different parts of the world. And so it feels very personal, him writing me a concerto, and of course in the manner he did: a three-movement work, but in one connected structure, with that incredible Bach fantasia taking over the third movement. It’s such a stroke of genius, but it also felt very much like he was sort of tailor-making it for me. He created a world for me to inhabit very freely.\u003c/p>\n\u003cp>\u003cstrong>You have a new album, \u003cem>Opus 109\u003c/em>, which you’ll play in Berkeley. It seems very inspired by your time touring with the Goldberg Variations.\u003c/strong>\u003c/p>\n\u003cp>Once you spend a year with the Goldberg Variations, you start to see traces of it in so much of music that came after Bach. And nowhere, I believe, more than in the late works of Ludwig van Beethoven, when he comes back from that five-year silence and goes into what we now have come to call his third period. Beethoven’s revolution with the third period, this music of the future — I realized it was very much fueled by Bach.\u003c/p>\n\u003cp>Beethoven’s last three sonatas, Opus 109, 110, 111, these three sisters, they’re always played together. And I was actually gonna try to do that, to be a good boy for once, and do something like everybody does it. But I failed with that. I just didn’t like it. Opus 109 is such a perfect sonata, it really deserves to be the center of the program. I looked around and I saw very strong connections, especially with the second movement of Beethoven’s E minor sonata, Opus 90, written six years before the Opus 109.\u003c/p>\n\u003cp>https://youtu.be/DJs9AYlvSiM?si=RRNOtVBB8GrvMgKq\u003c/p>\n\u003cp>Then in the middle of those two sonatas, young Schubert, living in the same city as Beethoven, writes this E minor sonata that’s basically forgotten today. And it’s an absolute masterpiece of work. Later-time musicologists added a terrible scherzo, in A-flat major, found in the same sketchbook, but it’s just a rough draft. And then someone else found another E major movement, a rondo, which also is quite terrible, which was written two years before the other parts of that sonata. They put that as a fourth movement. I just looked at it and was like, “Well, the sonata is already complete in two movements.”\u003c/p>\n\u003cp>I also decided to put a little Bach into the mix. And I wasn’t sure if I could do it, but I wanted to test if I could actually do an entire album in E — just in one tonality, E major, E minor — and get away with it. And at least for me personally, I think you don’t really get tired of that tonality. I haven’t heard anyone complain yet.\u003c/p>\n\u003cp>[aside postID='arts_13972538']\u003cstrong>You said in your post-concert comments, last time you were here, that “One should never apologize for Johann Sebastian Bach.” Do you find yourself having to defend Bach against people who say that Bach is too mathematical, or architectural?\u003c/strong>\u003c/p>\n\u003cp>I mean, that’s like someone telling me that nature isn’t beautiful. I don’t have anything to say to them. I feel bad for them if they see no beauty, if they hear no beauty. There’s nothing to be said.\u003c/p>\n\u003cp>\u003cstrong>Is there anything about growing up in Iceland that has influenced your playing or your studies?\u003c/strong>\u003c/p>\n\u003cp>You could say the instability of Iceland, in every sense. The fact that it’s very much still being born as an island, with all the earthquakes, with all of the volcanoes, with the glaciers, with that fact that the nature there and the weather changes constantly. It’s an incredibly dynamic country.\u003c/p>\n\u003cfigure id=\"attachment_13988881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Víkingur Ólafsson. \u003ccite>(Markus Jans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the fact that I come from a country where I had a much longer path than I might have had if I came from a different culture with more connections to the music industry. I became world-famous inside Iceland, and was completely unknown outside of Iceland. I was filling the house every night as a 21-year-old, but no one had heard of me! That gave me a lot of creative time in my youth and my formative years to experiment more than if I’d had an international career pushed upon me when I was 22 or 24.\u003c/p>\n\u003cp>There are so many other factors that are more subconscious than that. But I think the slowness of my path, although I wasn’t grateful for it at the time, helped me in that sense.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Víkingur Olafsson performs selections for solo piano by Beethoven, Bach and Schubert on Wednesday, April 29, presented by Cal Performances at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2025-26/recital/vikingur-olafsson-piano-opus-109/\">More information and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Icelandic pianist Víkingur Ólafsson is one of the world’s most engrossing live performers of \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical piano music\u003c/a> right now. Dazzling yet nuanced, he visited the Bay Area twice last year: to \u003ca href=\"https://www.kqed.org/arts/13970454/john-adams-piano-concerto-vikingur-olafsson-san-francisco-symphony-review\">premiere an exciting new John Adams concerto\u003c/a> and to pull off \u003ca href=\"https://www.kqed.org/arts/13972538/review-vikingur-olafsson-goldberg-variations-davies-yuja-wang-canceled\">Bach’s Goldberg Variations from memory in a last-minute program switcheroo\u003c/a>.\u003c/p>\n\u003cp>The Goldberg Variations, in particular, rewired Ólafsson’s consciousness after performing them for more than a year in concert halls around the world: “Slowly, the work takes over your perception of reality, forcing you to notice how, really, everything can be viewed as a set of variations,” he says. “Places, events, people. Trees, leaves, houses, streets. Thoughts and ideas. Cells and DNA.”\u003c/p>\n\u003cp>Now, on a recent album on Deutsche Grammophon and \u003ca href=\"https://calperformances.org/events/2025-26/recital/vikingur-olafsson-piano-opus-109/\">in a concert this week presented by Cal Performances at Berkeley’s Zellerbach Hall\u003c/a>, the widely lauded 42-year-old pianist directs his attention to Beethoven’s Piano Sonata No. 30, adding context of Bach and Schubert to show the threads of imagination among three composers.\u003c/p>\n\u003cp>Ólafsson spoke with KQED about the Bay Area, his process and his home country of Iceland.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988880\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans.jpg\" alt=\"\" width=\"1637\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-768x938.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-2-c-Markus-Jans-1257x1536.jpg 1257w\" sizes=\"auto, (max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Víkingur Ólafsson. \u003ccite>(Markus Jans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: You keep coming back to the Bay Area. What are your general impressions of the region?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Víkingur Ólafsson\u003c/strong>: I love it so much. I could live there if it wasn’t so far away from home. It’s a perfect place. It has some of the most interesting people. And of course, it has one of the people who is dearest to me in the whole music world, \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>. When I come to the Bay Area, I’m looking forward to it every time. I know I’ll have good conversations, excellent food and, hopefully, good performances.\u003c/p>\n\u003cp>I like Japantown — I very much like the restaurants there, and the vibe. The time before last when I was there, I went hiking, and it was just so wonderful. The coffee in the Bay Area is so excellent that you can almost go into any coffee shop, and this is unusual for the United States, but you can really get fabulous coffee everywhere.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>You premiered John Adams’ newest concerto here. What is it like working with John Adams?\u003c/strong>\u003c/p>\n\u003cp>He’s the kind of composer that reinvents himself in every piece. You never know what you’re gonna get, except that it’s gonna be beautiful and fantastic, because he’s such an incredible creator in that sense. I was so excited by that, him writing a piece for me — the honor of my musical life, really. I have such high regard for this man on all levels. As a composer, but also just a musical thinker in general. It’s fantastic to talk with him about Debussy, or Bach or Beethoven.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It helps that I have a very good relationship with him and consider him a dear friend, and an ally. We’ve known each other now for five years and spent time together in different parts of the world. And so it feels very personal, him writing me a concerto, and of course in the manner he did: a three-movement work, but in one connected structure, with that incredible Bach fantasia taking over the third movement. It’s such a stroke of genius, but it also felt very much like he was sort of tailor-making it for me. He created a world for me to inhabit very freely.\u003c/p>\n\u003cp>\u003cstrong>You have a new album, \u003cem>Opus 109\u003c/em>, which you’ll play in Berkeley. It seems very inspired by your time touring with the Goldberg Variations.\u003c/strong>\u003c/p>\n\u003cp>Once you spend a year with the Goldberg Variations, you start to see traces of it in so much of music that came after Bach. And nowhere, I believe, more than in the late works of Ludwig van Beethoven, when he comes back from that five-year silence and goes into what we now have come to call his third period. Beethoven’s revolution with the third period, this music of the future — I realized it was very much fueled by Bach.\u003c/p>\n\u003cp>Beethoven’s last three sonatas, Opus 109, 110, 111, these three sisters, they’re always played together. And I was actually gonna try to do that, to be a good boy for once, and do something like everybody does it. But I failed with that. I just didn’t like it. Opus 109 is such a perfect sonata, it really deserves to be the center of the program. I looked around and I saw very strong connections, especially with the second movement of Beethoven’s E minor sonata, Opus 90, written six years before the Opus 109.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DJs9AYlvSiM'\n title='//www.youtube.com/embed/DJs9AYlvSiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then in the middle of those two sonatas, young Schubert, living in the same city as Beethoven, writes this E minor sonata that’s basically forgotten today. And it’s an absolute masterpiece of work. Later-time musicologists added a terrible scherzo, in A-flat major, found in the same sketchbook, but it’s just a rough draft. And then someone else found another E major movement, a rondo, which also is quite terrible, which was written two years before the other parts of that sonata. They put that as a fourth movement. I just looked at it and was like, “Well, the sonata is already complete in two movements.”\u003c/p>\n\u003cp>I also decided to put a little Bach into the mix. And I wasn’t sure if I could do it, but I wanted to test if I could actually do an entire album in E — just in one tonality, E major, E minor — and get away with it. And at least for me personally, I think you don’t really get tired of that tonality. I haven’t heard anyone complain yet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>You said in your post-concert comments, last time you were here, that “One should never apologize for Johann Sebastian Bach.” Do you find yourself having to defend Bach against people who say that Bach is too mathematical, or architectural?\u003c/strong>\u003c/p>\n\u003cp>I mean, that’s like someone telling me that nature isn’t beautiful. I don’t have anything to say to them. I feel bad for them if they see no beauty, if they hear no beauty. There’s nothing to be said.\u003c/p>\n\u003cp>\u003cstrong>Is there anything about growing up in Iceland that has influenced your playing or your studies?\u003c/strong>\u003c/p>\n\u003cp>You could say the instability of Iceland, in every sense. The fact that it’s very much still being born as an island, with all the earthquakes, with all of the volcanoes, with the glaciers, with that fact that the nature there and the weather changes constantly. It’s an incredibly dynamic country.\u003c/p>\n\u003cfigure id=\"attachment_13988881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/VO-4-c-Markus-Jans-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Víkingur Ólafsson. \u003ccite>(Markus Jans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the fact that I come from a country where I had a much longer path than I might have had if I came from a different culture with more connections to the music industry. I became world-famous inside Iceland, and was completely unknown outside of Iceland. I was filling the house every night as a 21-year-old, but no one had heard of me! That gave me a lot of creative time in my youth and my formative years to experiment more than if I’d had an international career pushed upon me when I was 22 or 24.\u003c/p>\n\u003cp>There are so many other factors that are more subconscious than that. But I think the slowness of my path, although I wasn’t grateful for it at the time, helped me in that sense.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Víkingur Olafsson performs selections for solo piano by Beethoven, Bach and Schubert on Wednesday, April 29, presented by Cal Performances at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2025-26/recital/vikingur-olafsson-piano-opus-109/\">More information and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>During one of the most critical scenes in the play \u003cem>Hamnet\u003c/em>, a grieving mother, Agnes, watches in awe at the theater world of her husband, William Shakespeare. A world of costumes and nightly death, it also inspires reverence, and she comes to understand that her late son was the quintessence of glory. \u003c/p>\n\u003cp>To see Agnes absorb \u003cem>Hamlet\u003c/em>’s every word despite not understanding most of them is to witness simultaneous grief and healing. For eternity, she realizes, one of the world’s greatest plays will be connected to one of the universe’s most perfect 11-year-old boys.\u003c/p>\n\u003cp>Running through May 24 at San Francisco’s American Conservatory Theater, \u003cem>Hamnet\u003c/em> gives agency to Shakespeare’s mysterious and enigmatic wife, known as Anne or Agnes. This is not a historical account of a woman who simply sat by as a dutiful spouse, raising three children in Stratford-upon-Avon as Shakespeare gallivanted through London’s seedy and bustling Elizabethan theater district. Nor is it \u003cem>Shakespeare in Love\u003c/em>, the 1998 film which portrays Anne as a loveless hindrance to Shakespeare’s quill and immortality. \u003c/p>\n\u003cfigure id=\"attachment_13988826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg\" alt=\"A man in blue and a woman with a flower crown nuzzle up against one another\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rory Alexander and Kemi-Bo Jacobs as William and Agnes Shakespeare in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hamnet\u003c/em> is more on par with the jukebox musical \u003cem>& Juliet\u003c/em>, in which Anne directly questions the misogyny of Shakespeare’s storytelling. (A young teenage girl throwing her life away for a dithering and pathetic boy who changes his passions like he changes his underwear? What kind of hot garbage is that, Will?) \u003c/p>\n\u003cp>Onstage at ACT, the battles between Agnes (Kemi-Bo Jacobs) and William (Rory Alexander) are filled with pain, as Shakespeare knows he has no choice but to make the four-day trek to London and continue writing plays that may someday change the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lolita Chakrabarti’s adaptation from Maggie O’Farrell’s sweeping tale is a highly metaphoric jaunt through the thrill of new love — the mystery of this strange falcon girl who may have deep connections to witchcraft, and a base Latin tutor helping his father (Nigel Barrett) climb out of crippling debt.\u003c/p>\n\u003cfigure id=\"attachment_13988825\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"1320\" height=\"2000\" class=\"size-full wp-image-13988825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-768x1164.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-1014x1536.jpg 1014w\" sizes=\"auto, (max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Kemi-Bo Jacobs as Agnes (center), with Ajani Cabey as Hamnet and Saffron Dey as Judith in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Erica Whyman’s astute direction, long swatches of material become babies and pregnancies. This theatrical approach complements a grand and rustic scenic design by Tom Piper, who also designed the costumes. Simon Baker’s soundscape leans heavily into deep bass to augment whispers and wisdom that form much of the play’s mystery. \u003c/p>\n\u003cp>Chakrabarti’s reimagined script veers somewhat from O’Farrell’s flashback-heavy 2020 novel. Yet it’s respectful to the novel’s great intentions (the stunning clarity in the book to describe a first tryst among the apples is staged beautifully here). \u003c/p>\n\u003cp>While much about ACT’s production works, it is not perfect. The initial sounds of child whispers are hard, if not impossible, to understand. While plenty of the show meets the story’s emotional demands, other moments fall toward a thinner, more unsatisfying end. Hard honesty moves through space with too much rapidity for an audience yearning for authenticity. \u003c/p>\n\u003cfigure id=\"attachment_13988824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saffron Dey as Judith and Ajani Cabey as Hamnet in the Royal Shakespeare Company’s‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some fantastic setups preface the second act’s more damaging moments. Anyone with the slightest knowledge of Shakespeare knows that Hamnet’s demise is near; a gentle, well-paced staging doesn’t make that any easier to digest. But take note of how Jacobs conveys the hurt. As in the Ocscar-winning 2025 film of \u003cem>Hamnet\u003c/em>, Jacobs’ cries as Agnes are guttural, produced from a place that only exists for those who’ve bore and lost a child. \u003c/p>\n\u003cp>While William channels his agony into his opus, unbeknownst to those mourning back home, the stoic Agnes is the face of devastation, conveyed by Jacobs using every ounce of her emotions. \u003c/p>\n\u003cp>Both John and Mary (Penny Layden) represent the issues that encompass Will as he navigates a scandalous pregnancy out of wedlock. While Barrett conveys the horror of John’s temper in O’Farrell’s novel, he’s equally delightful as the bumbling comic actor Will Kempe. And Troy Alexander as Barthlolomew is a gargantuan presence, taking charge when he sees fit. \u003c/p>\n\u003cp>Art will always have the power to heal weary souls, contextualizing some of existence’s most distressing moments. Hamnet needs a greater commitment to manifest its own quintessence, but the pathway is there for the taking. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hamnet’ runs through Sunday, May 24 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/hamnet\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During one of the most critical scenes in the play \u003cem>Hamnet\u003c/em>, a grieving mother, Agnes, watches in awe at the theater world of her husband, William Shakespeare. A world of costumes and nightly death, it also inspires reverence, and she comes to understand that her late son was the quintessence of glory. \u003c/p>\n\u003cp>To see Agnes absorb \u003cem>Hamlet\u003c/em>’s every word despite not understanding most of them is to witness simultaneous grief and healing. For eternity, she realizes, one of the world’s greatest plays will be connected to one of the universe’s most perfect 11-year-old boys.\u003c/p>\n\u003cp>Running through May 24 at San Francisco’s American Conservatory Theater, \u003cem>Hamnet\u003c/em> gives agency to Shakespeare’s mysterious and enigmatic wife, known as Anne or Agnes. This is not a historical account of a woman who simply sat by as a dutiful spouse, raising three children in Stratford-upon-Avon as Shakespeare gallivanted through London’s seedy and bustling Elizabethan theater district. Nor is it \u003cem>Shakespeare in Love\u003c/em>, the 1998 film which portrays Anne as a loveless hindrance to Shakespeare’s quill and immortality. \u003c/p>\n\u003cfigure id=\"attachment_13988826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg\" alt=\"A man in blue and a woman with a flower crown nuzzle up against one another\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rory Alexander and Kemi-Bo Jacobs as William and Agnes Shakespeare in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hamnet\u003c/em> is more on par with the jukebox musical \u003cem>& Juliet\u003c/em>, in which Anne directly questions the misogyny of Shakespeare’s storytelling. (A young teenage girl throwing her life away for a dithering and pathetic boy who changes his passions like he changes his underwear? What kind of hot garbage is that, Will?) \u003c/p>\n\u003cp>Onstage at ACT, the battles between Agnes (Kemi-Bo Jacobs) and William (Rory Alexander) are filled with pain, as Shakespeare knows he has no choice but to make the four-day trek to London and continue writing plays that may someday change the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lolita Chakrabarti’s adaptation from Maggie O’Farrell’s sweeping tale is a highly metaphoric jaunt through the thrill of new love — the mystery of this strange falcon girl who may have deep connections to witchcraft, and a base Latin tutor helping his father (Nigel Barrett) climb out of crippling debt.\u003c/p>\n\u003cfigure id=\"attachment_13988825\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"1320\" height=\"2000\" class=\"size-full wp-image-13988825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-768x1164.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-1014x1536.jpg 1014w\" sizes=\"auto, (max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Kemi-Bo Jacobs as Agnes (center), with Ajani Cabey as Hamnet and Saffron Dey as Judith in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Erica Whyman’s astute direction, long swatches of material become babies and pregnancies. This theatrical approach complements a grand and rustic scenic design by Tom Piper, who also designed the costumes. Simon Baker’s soundscape leans heavily into deep bass to augment whispers and wisdom that form much of the play’s mystery. \u003c/p>\n\u003cp>Chakrabarti’s reimagined script veers somewhat from O’Farrell’s flashback-heavy 2020 novel. Yet it’s respectful to the novel’s great intentions (the stunning clarity in the book to describe a first tryst among the apples is staged beautifully here). \u003c/p>\n\u003cp>While much about ACT’s production works, it is not perfect. The initial sounds of child whispers are hard, if not impossible, to understand. While plenty of the show meets the story’s emotional demands, other moments fall toward a thinner, more unsatisfying end. Hard honesty moves through space with too much rapidity for an audience yearning for authenticity. \u003c/p>\n\u003cfigure id=\"attachment_13988824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saffron Dey as Judith and Ajani Cabey as Hamnet in the Royal Shakespeare Company’s‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some fantastic setups preface the second act’s more damaging moments. Anyone with the slightest knowledge of Shakespeare knows that Hamnet’s demise is near; a gentle, well-paced staging doesn’t make that any easier to digest. But take note of how Jacobs conveys the hurt. As in the Ocscar-winning 2025 film of \u003cem>Hamnet\u003c/em>, Jacobs’ cries as Agnes are guttural, produced from a place that only exists for those who’ve bore and lost a child. \u003c/p>\n\u003cp>While William channels his agony into his opus, unbeknownst to those mourning back home, the stoic Agnes is the face of devastation, conveyed by Jacobs using every ounce of her emotions. \u003c/p>\n\u003cp>Both John and Mary (Penny Layden) represent the issues that encompass Will as he navigates a scandalous pregnancy out of wedlock. While Barrett conveys the horror of John’s temper in O’Farrell’s novel, he’s equally delightful as the bumbling comic actor Will Kempe. And Troy Alexander as Barthlolomew is a gargantuan presence, taking charge when he sees fit. \u003c/p>\n\u003cp>Art will always have the power to heal weary souls, contextualizing some of existence’s most distressing moments. Hamnet needs a greater commitment to manifest its own quintessence, but the pathway is there for the taking. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hamnet’ runs through Sunday, May 24 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/hamnet\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Conversation About Black Feminist Art Takes off at SFO",
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"content": "\u003cp>In an average year, over 50 million people pass through San Francisco International Airport. Most of them are rushing to catch a plane or greet their loved ones. But how many travelers take time to enjoy the art?\u003c/p>\n\u003cp>Art can be found all throughout SFO’s terminals, and even outside of the building. In Terminal 3, \u003ca href=\"https://nmwa.org/art/artists/alison-saar/\">Alison Saar\u003c/a>‘s stainless steel sculpture \u003cem>\u003cspan class=\"font-bold italic\">Flourish\u003c/span>\u003c/em> (2021), of a little Black girl sitting on a stack of suitcases, offers an homage to immigrant roots and diversity.\u003c/p>\n\u003cp>The artist’s goal was to have “a different conversation” about displacement and inclusion, says Ashara Ekundayo, founder of the arts organization \u003ca href=\"https://www.artistasfirstresponder.com/\">Artist As First Responder\u003c/a>. “The great thing about her piece,” says Ekundayo, “is that it sits before security.”\u003c/p>\n\u003cp>Because of that, anyone can come to airport and see it. This Friday at SFO, the public is invited to a roundtable discussion with Saar and fellow artists \u003ca href=\"https://www.adiamillett.com/\">Adia Millett\u003c/a>, \u003ca href=\"https://grokipedia.com/page/eve_sandler\">Eve Sandler \u003c/a>and the duo \u003ca href=\"https://www.instagram.com/tallersanaa/\">Taller SANAA\u003c/a> (\u003ca href=\"https://www.shannastrauss.co/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnR8yVv7RGaM__KxytVLvejtgEuuA4wmZZgLH9_H6cLzq-vWx3Uv3o_bskN3M_aem_cOqLcWpSrp4zfnzZI_fYyg\">Shanna Strauss\u003c/a> and \u003ca href=\"https://www.jessicasabogal.com/\">Jessica Sabogal\u003c/a>), moderated by Ekundayo.\u003c/p>\n\u003cfigure id=\"attachment_13988804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988804 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar, ‘Flourish,’ 2021. \u003ccite>(Ethan Kaplan Photography.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The discussion, titled \u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">\u003cem>Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/em>\u003c/a>, is part of a line of events leading up to the 50th anniversary of the \u003ca href=\"https://www.reed.edu/cres/assets/Combahee-River-Collective,-Black-Feminist-Statement,-How-We-Get-Free---Taylor.pdf\">Combahee River Collective’s statement.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Written by a group of Black feminist artists and academics in April 1977, the statement is a manifesto on intersectional oppression and how liberation for Black women leads to liberation for all.\u003c/p>\n\u003cfigure id=\"attachment_13988834\" class=\"wp-caption alignright\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg\" alt=\"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar at Arion Press in San Francisco, 2024. \u003ccite>(Courtesy of L.A. Louver Venice CA. Photograph by Nicholas Lea Bruno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To guide the discussion, Ekundayo will pull from many of its concepts, as well as an analysis of the current state of art in San Francisco.\u003c/p>\n\u003cp>Two years ago, Ekundayo asked the San Francisco Arts Commission how many women were in the city’s Civic Art Collection holdings at SFO. “They gave me a list, it was very short,” she says.\u003c/p>\n\u003cp>That list grew even shorter when she asked how many of them were women of color. And shorter still when she asked how many were Black women.\u003c/p>\n\u003cp>There were only a few, recalls Ekundayo, they were \u003ca href=\"https://www.soulsgrowndeep.org/artist/louisiana-p-bendolph\">Louisiana Bendolph\u003c/a>, \u003ca href=\"https://www.instagram.com/mildredhoward/\">Mildred Howard\u003c/a> and Alison Saar.\u003c/p>\n\u003cp>The collection now includes the works of 15 artists who are Black women and gender-expansive people of color, including \u003ca href=\"https://www.kqed.org/arts/13877054/conjuring-the-ancestors-with-art\">Sydney Cain\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\">Erica Deeman\u003c/a>, \u003ca href=\"https://www.instagram.com/ye.tunde/\">yétúndé ọlágbajú\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13986884/trina-michelle-robinson-open-your-eyes-to-water-review-root-division-500-capp-san-francisco\">Trina Michelle Robinson\u003c/a> and others.\u003c/p>\n\u003cp>In the spirit of the Combahee River Collective, addressing the history of institutions and the current state of arts in the community is Ekundayo’s larger goal. [aside postid='arts_13988742']\u003c/p>\n\u003cp>Along with archivist \u003ca href=\"https://linktr.ee/lisbettellefsen\">Lisbet Tellefsen\u003c/a> and artist and educator\u003ca href=\"https://www.courtneydesireemorris.com/\"> Dr. Courtney Desiree Morris\u003c/a>, Ekundayo is curating a website that will chart events leading up to the Statement’s 50th anniversary in 2027. It’s called \u003ca href=\"https://blackwhole.art/\">BlackW(hole).Art\u003c/a>.\u003c/p>\n\u003cp>The listings include film screenings and group archiving events, like one held earlier this month, where Ekundayo worked with Eastside Arts Alliance’s \u003ca href=\"https://www.eastsideartsalliance.org/archive-carp\">\u003cspan class=\"sqsrte-text-highlight\" data-text-attribute-id=\"1249e58e-0f20-48a1-91ed-443130327049\">Community Archival Resource Project\u003c/span>\u003c/a>. The collective invited people to contribute images to a community capsule. This was the first of four such events, and the next one will be on June 13 in partnership with the \u003ca href=\"https://www.bayarealesbianarchives.org/\">Bay Area Lesbian Archives\u003c/a>. [aside postid='arts_13987669']\u003c/p>\n\u003cp>All of these events, says Ekundayo, are representative of “a Black feminist praxis, beyond Black feminist thought.” She adds that the impact of the Combahee River Collective’s statement is in “the utility of Black women being free” and “facilitating the freedom of everyone else.”\u003c/p>\n\u003cp>As a capstone to this effort, in the spring of 2027, Ekundayo, Morris and company will partner with a number of institutions and community-based organizations to host a Black feminist symposium at UC Berkeley.\u003c/p>\n\u003cp>But for those who are either passing through the terminal, or have some time to stop by the airport tomorrow, they don’t have to wait to get a taste of what Ekundayo calls a “Black feminism visual offering.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/a> takes place April 24 at 11 a.m. at SFO Museum-Louis A. Turpen Aviation Museum and Library (International Terminal Departures Level, San Francisco International Airport). \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an average year, over 50 million people pass through San Francisco International Airport. Most of them are rushing to catch a plane or greet their loved ones. But how many travelers take time to enjoy the art?\u003c/p>\n\u003cp>Art can be found all throughout SFO’s terminals, and even outside of the building. In Terminal 3, \u003ca href=\"https://nmwa.org/art/artists/alison-saar/\">Alison Saar\u003c/a>‘s stainless steel sculpture \u003cem>\u003cspan class=\"font-bold italic\">Flourish\u003c/span>\u003c/em> (2021), of a little Black girl sitting on a stack of suitcases, offers an homage to immigrant roots and diversity.\u003c/p>\n\u003cp>The artist’s goal was to have “a different conversation” about displacement and inclusion, says Ashara Ekundayo, founder of the arts organization \u003ca href=\"https://www.artistasfirstresponder.com/\">Artist As First Responder\u003c/a>. “The great thing about her piece,” says Ekundayo, “is that it sits before security.”\u003c/p>\n\u003cp>Because of that, anyone can come to airport and see it. This Friday at SFO, the public is invited to a roundtable discussion with Saar and fellow artists \u003ca href=\"https://www.adiamillett.com/\">Adia Millett\u003c/a>, \u003ca href=\"https://grokipedia.com/page/eve_sandler\">Eve Sandler \u003c/a>and the duo \u003ca href=\"https://www.instagram.com/tallersanaa/\">Taller SANAA\u003c/a> (\u003ca href=\"https://www.shannastrauss.co/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnR8yVv7RGaM__KxytVLvejtgEuuA4wmZZgLH9_H6cLzq-vWx3Uv3o_bskN3M_aem_cOqLcWpSrp4zfnzZI_fYyg\">Shanna Strauss\u003c/a> and \u003ca href=\"https://www.jessicasabogal.com/\">Jessica Sabogal\u003c/a>), moderated by Ekundayo.\u003c/p>\n\u003cfigure id=\"attachment_13988804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988804 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar, ‘Flourish,’ 2021. \u003ccite>(Ethan Kaplan Photography.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The discussion, titled \u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">\u003cem>Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/em>\u003c/a>, is part of a line of events leading up to the 50th anniversary of the \u003ca href=\"https://www.reed.edu/cres/assets/Combahee-River-Collective,-Black-Feminist-Statement,-How-We-Get-Free---Taylor.pdf\">Combahee River Collective’s statement.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Written by a group of Black feminist artists and academics in April 1977, the statement is a manifesto on intersectional oppression and how liberation for Black women leads to liberation for all.\u003c/p>\n\u003cfigure id=\"attachment_13988834\" class=\"wp-caption alignright\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg\" alt=\"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar at Arion Press in San Francisco, 2024. \u003ccite>(Courtesy of L.A. Louver Venice CA. Photograph by Nicholas Lea Bruno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To guide the discussion, Ekundayo will pull from many of its concepts, as well as an analysis of the current state of art in San Francisco.\u003c/p>\n\u003cp>Two years ago, Ekundayo asked the San Francisco Arts Commission how many women were in the city’s Civic Art Collection holdings at SFO. “They gave me a list, it was very short,” she says.\u003c/p>\n\u003cp>That list grew even shorter when she asked how many of them were women of color. And shorter still when she asked how many were Black women.\u003c/p>\n\u003cp>There were only a few, recalls Ekundayo, they were \u003ca href=\"https://www.soulsgrowndeep.org/artist/louisiana-p-bendolph\">Louisiana Bendolph\u003c/a>, \u003ca href=\"https://www.instagram.com/mildredhoward/\">Mildred Howard\u003c/a> and Alison Saar.\u003c/p>\n\u003cp>The collection now includes the works of 15 artists who are Black women and gender-expansive people of color, including \u003ca href=\"https://www.kqed.org/arts/13877054/conjuring-the-ancestors-with-art\">Sydney Cain\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\">Erica Deeman\u003c/a>, \u003ca href=\"https://www.instagram.com/ye.tunde/\">yétúndé ọlágbajú\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13986884/trina-michelle-robinson-open-your-eyes-to-water-review-root-division-500-capp-san-francisco\">Trina Michelle Robinson\u003c/a> and others.\u003c/p>\n\u003cp>In the spirit of the Combahee River Collective, addressing the history of institutions and the current state of arts in the community is Ekundayo’s larger goal. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with archivist \u003ca href=\"https://linktr.ee/lisbettellefsen\">Lisbet Tellefsen\u003c/a> and artist and educator\u003ca href=\"https://www.courtneydesireemorris.com/\"> Dr. Courtney Desiree Morris\u003c/a>, Ekundayo is curating a website that will chart events leading up to the Statement’s 50th anniversary in 2027. It’s called \u003ca href=\"https://blackwhole.art/\">BlackW(hole).Art\u003c/a>.\u003c/p>\n\u003cp>The listings include film screenings and group archiving events, like one held earlier this month, where Ekundayo worked with Eastside Arts Alliance’s \u003ca href=\"https://www.eastsideartsalliance.org/archive-carp\">\u003cspan class=\"sqsrte-text-highlight\" data-text-attribute-id=\"1249e58e-0f20-48a1-91ed-443130327049\">Community Archival Resource Project\u003c/span>\u003c/a>. The collective invited people to contribute images to a community capsule. This was the first of four such events, and the next one will be on June 13 in partnership with the \u003ca href=\"https://www.bayarealesbianarchives.org/\">Bay Area Lesbian Archives\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of these events, says Ekundayo, are representative of “a Black feminist praxis, beyond Black feminist thought.” She adds that the impact of the Combahee River Collective’s statement is in “the utility of Black women being free” and “facilitating the freedom of everyone else.”\u003c/p>\n\u003cp>As a capstone to this effort, in the spring of 2027, Ekundayo, Morris and company will partner with a number of institutions and community-based organizations to host a Black feminist symposium at UC Berkeley.\u003c/p>\n\u003cp>But for those who are either passing through the terminal, or have some time to stop by the airport tomorrow, they don’t have to wait to get a taste of what Ekundayo calls a “Black feminism visual offering.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/a> takes place April 24 at 11 a.m. at SFO Museum-Louis A. Turpen Aviation Museum and Library (International Terminal Departures Level, San Francisco International Airport). \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"politicalbreakdown": {
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
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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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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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