The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.
Critics’ PicksCritics’ Picks
The Cure-All of Annie Vought’s Intricate Worlds
The San Francisco Symphony’s 2026–27 Season Is Here
The Dolls Are Coming
Heartfelt Epic ‘Palestine ’36’ Revisits Arab Blows Against the British Empire
Cats, Cats, Cats, Prancing Ever Onward in Downtown San José
‘The AI Doc’ Is Probably the Scariest Movie You’ll See All Year
Diedrick Brackens’ Monumental Textiles Hang in Splendor at YBCA
Teenage Hoopers Face Off in ‘Flex,’ a New Play About Women’s Basketball
How One of Mexico City’s Most Acclaimed Restaurants Began in Oakland
‘||: Girls :||: Chance :||: Music :||’ Captures the Nature of Girlhood Friendship
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"content": "\u003cp>It’s a sign of something (a not-great something) when an arts writer develops a persistent eye twitch — in both eyes. \u003c/p>\n\u003cp>In retrospect, the cause was clear: too many screens and not enough sleep. The twitch started because everything in my life was too sleek and digital, too up-close and glowing. I needed to gaze at distant vistas, or even medium-distance potted plants. I was doing neither. (It ultimately took two weeks of jury duty, enforced non-screen time, to put the twitch to rest.)\u003c/p>\n\u003cp>Mid-twitch, though, I did experience some reprieve. Visiting Berkeley’s Traywick Contemporary to see \u003ca href=\"https://www.annievought.com/\">Annie Vought\u003c/a>’s solo show \u003ci>\u003ca href=\"https://www.traywick.com/exhibition/annie-vought-opened-and-split/\">opened and split\u003c/a>\u003c/i>, I felt the sweet relief of absorbing actual texture, depth and detail through my eyeballs. \u003c/p>\n\u003cp>Vought’s 12 cut-paper works are intricate worlds created with a blade, oil stick, colored pencil, glitter, sequins, graphite and charcoal. Some of those worlds are small, just 12 by 9 inches of cut black paper. Others measure six feet tall, stunningly solid despite being made of such slight material. \u003c/p>\n\u003cfigure id=\"attachment_13988013\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px.jpg\" alt=\"black paper cut into house shape with waves inside\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13988013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annie Vought, ‘There is a loneliness that can be rocked,’ 2025; Hand cut paper, oil stick, glitter, sequins, glue, graphite, charcoal, colored pencil, ink. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artist, who relocated to Santa Fe from the Bay Area, is incredibly adept at slicing through paper to create lace-like, mind-boggling compositions. Before making the body of work shown at Traywick, she translated handwritten pages of text into large-scale cut-outs. Pieces were held together by the meeting points of letter and line, all the while appropriating someone else’s flowing cursive or gangly scrawl. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003ci>opened and split\u003c/i>, Vought shifts from text to image, honing her own loose, kinetic style. Her pieces are filled with tiny characters and their minuscule teeth, hands (so many hands), desert plants, waves, spirals, bugs, eyes and feathers. All of this is cut into black paper, which then hangs in front of white background to create an added dimension of shadow.\u003c/p>\n\u003cp>The detail doesn’t stop with the interplay of positive and negative space. Shapes are glued to the paper surface. Chunky oil stick, colored pencil and black glitter add additional textural dimension to each piece. Around the edges of Vought’s works, notes and doodles bestow a sense of rapidity — in contrast to the sharp, careful cuts she makes by the thousand.\u003c/p>\n\u003cfigure id=\"attachment_13988014\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px.jpg\" alt=\"black paper with cut-in imagery of swirls, hands, plants, etc.\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13988014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annie Vought, ‘Demeter,’ 2025; Hand cut paper, oil stick, glitter, sequins, glue, graphite, charcoal, colored pencil. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spring is the perfect time to encounter the abundance of Vought’s art, with all its churning, teeming \u003ci>activity\u003c/i>. The showstopper \u003ci>Demeter\u003c/i>, named after the Greek goddess of the harvest, breaks free from the rectangular shape that bounds the rest of the show’s works. Hands and fingers curve around its edges.\u003c/p>\n\u003cp>[aside postID='arts_13987911' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-62_2000.jpg']In \u003ci>A baptism in the river Styx\u003c/i> and \u003ci>There is a loneliness that can be rocked\u003c/i>, the next-largest pieces, Vought makes her cuts within the shape of a boat and a house, respectively. Filling those spaces with rough waters, reaching hands and what look like bunches of grass, she conjures dark, mythological narratives. Much of the art in \u003ci>opened and split\u003c/i> explicitly or materially references maternal figures. It’s hard not to see the many hands in Vought’s work as cushioning the boundary between familial and societal chaos.\u003c/p>\n\u003cp>Near the end of my time at Traywick, I lingered, returning for close-up views of each of the dozen works, knowing that unless I lived with them, I’d never be able to spot all the tiny vignettes and interactions they contained. Vought’s art, dense and dynamic, imparts a share of its energy onto the viewer. You can’t help but walk away with a bounce in your step. \u003c/p>\n\u003cp>And for that whole period of looking, I was blessedly twitch-free. It seems counterintuitive that highly detailed, intricately rendered art could be an antidote to digital strain. But the tangibility, the effort and evidence of Vought’s own hand, are the complete opposite of what ailed me. \u003c/p>\n\u003cp>Don’t deny your own eyes this particular remedy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.traywick.com/exhibition/annie-vought-opened-and-split/\">opened and split\u003c/a>’ is on view at Traywick Contemporary (895 Colusa Ave., Berkeley) through April 11, 2026. The show is a collaboration between Traywick and the curatorial project \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a sign of something (a not-great something) when an arts writer develops a persistent eye twitch — in both eyes. \u003c/p>\n\u003cp>In retrospect, the cause was clear: too many screens and not enough sleep. The twitch started because everything in my life was too sleek and digital, too up-close and glowing. I needed to gaze at distant vistas, or even medium-distance potted plants. I was doing neither. (It ultimately took two weeks of jury duty, enforced non-screen time, to put the twitch to rest.)\u003c/p>\n\u003cp>Mid-twitch, though, I did experience some reprieve. Visiting Berkeley’s Traywick Contemporary to see \u003ca href=\"https://www.annievought.com/\">Annie Vought\u003c/a>’s solo show \u003ci>\u003ca href=\"https://www.traywick.com/exhibition/annie-vought-opened-and-split/\">opened and split\u003c/a>\u003c/i>, I felt the sweet relief of absorbing actual texture, depth and detail through my eyeballs. \u003c/p>\n\u003cp>Vought’s 12 cut-paper works are intricate worlds created with a blade, oil stick, colored pencil, glitter, sequins, graphite and charcoal. Some of those worlds are small, just 12 by 9 inches of cut black paper. Others measure six feet tall, stunningly solid despite being made of such slight material. \u003c/p>\n\u003cfigure id=\"attachment_13988013\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px.jpg\" alt=\"black paper cut into house shape with waves inside\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13988013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/There-is-a-loneliness-that-can-be-rocked.2000-px-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annie Vought, ‘There is a loneliness that can be rocked,’ 2025; Hand cut paper, oil stick, glitter, sequins, glue, graphite, charcoal, colored pencil, ink. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artist, who relocated to Santa Fe from the Bay Area, is incredibly adept at slicing through paper to create lace-like, mind-boggling compositions. Before making the body of work shown at Traywick, she translated handwritten pages of text into large-scale cut-outs. Pieces were held together by the meeting points of letter and line, all the while appropriating someone else’s flowing cursive or gangly scrawl. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003ci>opened and split\u003c/i>, Vought shifts from text to image, honing her own loose, kinetic style. Her pieces are filled with tiny characters and their minuscule teeth, hands (so many hands), desert plants, waves, spirals, bugs, eyes and feathers. All of this is cut into black paper, which then hangs in front of white background to create an added dimension of shadow.\u003c/p>\n\u003cp>The detail doesn’t stop with the interplay of positive and negative space. Shapes are glued to the paper surface. Chunky oil stick, colored pencil and black glitter add additional textural dimension to each piece. Around the edges of Vought’s works, notes and doodles bestow a sense of rapidity — in contrast to the sharp, careful cuts she makes by the thousand.\u003c/p>\n\u003cfigure id=\"attachment_13988014\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px.jpg\" alt=\"black paper with cut-in imagery of swirls, hands, plants, etc.\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13988014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Demeter.2000-px-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annie Vought, ‘Demeter,’ 2025; Hand cut paper, oil stick, glitter, sequins, glue, graphite, charcoal, colored pencil. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spring is the perfect time to encounter the abundance of Vought’s art, with all its churning, teeming \u003ci>activity\u003c/i>. The showstopper \u003ci>Demeter\u003c/i>, named after the Greek goddess of the harvest, breaks free from the rectangular shape that bounds the rest of the show’s works. Hands and fingers curve around its edges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003ci>A baptism in the river Styx\u003c/i> and \u003ci>There is a loneliness that can be rocked\u003c/i>, the next-largest pieces, Vought makes her cuts within the shape of a boat and a house, respectively. Filling those spaces with rough waters, reaching hands and what look like bunches of grass, she conjures dark, mythological narratives. Much of the art in \u003ci>opened and split\u003c/i> explicitly or materially references maternal figures. It’s hard not to see the many hands in Vought’s work as cushioning the boundary between familial and societal chaos.\u003c/p>\n\u003cp>Near the end of my time at Traywick, I lingered, returning for close-up views of each of the dozen works, knowing that unless I lived with them, I’d never be able to spot all the tiny vignettes and interactions they contained. Vought’s art, dense and dynamic, imparts a share of its energy onto the viewer. You can’t help but walk away with a bounce in your step. \u003c/p>\n\u003cp>And for that whole period of looking, I was blessedly twitch-free. It seems counterintuitive that highly detailed, intricately rendered art could be an antidote to digital strain. But the tangibility, the effort and evidence of Vought’s own hand, are the complete opposite of what ailed me. \u003c/p>\n\u003cp>Don’t deny your own eyes this particular remedy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.traywick.com/exhibition/annie-vought-opened-and-split/\">opened and split\u003c/a>’ is on view at Traywick Contemporary (895 Colusa Ave., Berkeley) through April 11, 2026. The show is a collaboration between Traywick and the curatorial project \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">115th season\u003c/a> kicks off on Sept. 8, 2026, and today the orchestra announced a slate of multifaceted programming that includes several premieres and fresh collaborations.\u003c/p>\n\u003cp>Nov. 19–21, 2026, Alonzo King LINES Ballet debuts two new works set to Debussy’s \u003cem>Prélude à L’Après-midi d’un faune\u003c/em> and Copland’s suite from \u003cem>Appalachian Spring\u003c/em>, conducted by James Gaffigan.\u003c/p>\n\u003cp>June 3–5, 2027, the Symphony presents Janni Younge’s production of Stravinsky’s \u003cem>The Firebird\u003c/em> with puppetry and South African dance. Photographer and video artist Deborah O’Grady adds visuals from California’s dramatic landscapes to \u003cem>The Dharma at Big Sur\u003c/em> by Bay Area composer \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a> on June 17 and 18, 2027.\u003c/p>\n\u003cp>[aside postID='arts_13980628']On Feb. 11–13, 2027 San Francisco Symphony premieres a new work by Kyle Rivera, the winner of the \u003ca href=\"https://www.kqed.org/arts/13980628/emerging-black-composers-project-san-francisco-symphony-conservatory-of-music\">Emerging Black Composers Project\u003c/a>. Rivera’s piece dramatizes how dead whales sustain hidden ecosystems of deep-sea organisms.\u003c/p>\n\u003cp>On April 22–24, 2027 former San Francisco Symphony Director Esa-Pekka Salonen returns to Davies Symphony Hall (\u003ca href=\"https://www.kqed.org/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest\">he left in 2025\u003c/a> due to disagreements with the board about budget cuts and programming). For the 2026–27 season, Salonen conducts the world premiere of a new concerto for harp and percussion by composer Rene Orth, a San Francisco Symphony commission.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joe Hisaishi, the Japanese composer who has worked extensively with director Hayao Miyazaki, returns to the San Francisco Symphony stage on Oct. 22, 2026 for the West Coast premiere of his original Concerto for Orchestra, which he will conduct himself. (Studio Ghibli fans bought up tickets quickly when Hisaishi \u003ca href=\"https://www.kqed.org/arts/13963803/review-joe-hisaishi-studio-ghibli-san-francisco-symphony\">performed with the orchestra in 2024\u003c/a>.)\u003c/p>\n\u003cp>[aside postID='arts_13987039']The San Francisco Symphony will continue popular series including Films with Live Orchestra, which features classics such as \u003cem>Star Wars: Return of the Jedi\u003c/em> and \u003cem>The Ring\u003c/em>. Soundbox, a series of experimental performances in a relaxed, nightclub-like setting, comes back for a 13th season with two programs curated by violinist Vijay Gupta (Jan. 29–30) and conductor Edwin Outwater (April 1–2).\u003c/p>\n\u003cp>The new season also features collaborations with musicians such as Grammy-winning blues singer-songwriter Fantastic Negrito and Berkeley-born composer and environmentalist Gabriella Smith, who has come on as a creative partner.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Symphony’s new season gets underway on Sept. 8, and the \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">full program can be found here\u003c/a>. Single-concert tickets go on sale July 18, with subscriptions available now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">115th season\u003c/a> kicks off on Sept. 8, 2026, and today the orchestra announced a slate of multifaceted programming that includes several premieres and fresh collaborations.\u003c/p>\n\u003cp>Nov. 19–21, 2026, Alonzo King LINES Ballet debuts two new works set to Debussy’s \u003cem>Prélude à L’Après-midi d’un faune\u003c/em> and Copland’s suite from \u003cem>Appalachian Spring\u003c/em>, conducted by James Gaffigan.\u003c/p>\n\u003cp>June 3–5, 2027, the Symphony presents Janni Younge’s production of Stravinsky’s \u003cem>The Firebird\u003c/em> with puppetry and South African dance. Photographer and video artist Deborah O’Grady adds visuals from California’s dramatic landscapes to \u003cem>The Dharma at Big Sur\u003c/em> by Bay Area composer \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a> on June 17 and 18, 2027.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Feb. 11–13, 2027 San Francisco Symphony premieres a new work by Kyle Rivera, the winner of the \u003ca href=\"https://www.kqed.org/arts/13980628/emerging-black-composers-project-san-francisco-symphony-conservatory-of-music\">Emerging Black Composers Project\u003c/a>. Rivera’s piece dramatizes how dead whales sustain hidden ecosystems of deep-sea organisms.\u003c/p>\n\u003cp>On April 22–24, 2027 former San Francisco Symphony Director Esa-Pekka Salonen returns to Davies Symphony Hall (\u003ca href=\"https://www.kqed.org/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest\">he left in 2025\u003c/a> due to disagreements with the board about budget cuts and programming). For the 2026–27 season, Salonen conducts the world premiere of a new concerto for harp and percussion by composer Rene Orth, a San Francisco Symphony commission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The San Francisco Symphony will continue popular series including Films with Live Orchestra, which features classics such as \u003cem>Star Wars: Return of the Jedi\u003c/em> and \u003cem>The Ring\u003c/em>. Soundbox, a series of experimental performances in a relaxed, nightclub-like setting, comes back for a 13th season with two programs curated by violinist Vijay Gupta (Jan. 29–30) and conductor Edwin Outwater (April 1–2).\u003c/p>\n\u003cp>The new season also features collaborations with musicians such as Grammy-winning blues singer-songwriter Fantastic Negrito and Berkeley-born composer and environmentalist Gabriella Smith, who has come on as a creative partner.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Symphony’s new season gets underway on Sept. 8, and the \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">full program can be found here\u003c/a>. Single-concert tickets go on sale July 18, with subscriptions available now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Anita Lofton and Veronica Savage have made noise in the Bay for more than a decade with their bands Sistas In The Pit and The Hail Marys – notable not just for their energy, but for the ways their identities intersect with their music. The two women are proudly Black, fiercely punk, unapologetically raw and have recently coalesced (along with drummer Q) into \u003ca href=\"https://www.instagram.com/blackgoldsun1/\">Black Gold Sun\u003c/a>. \u003c/p>\n\u003cp>After watching the 2024 election results, Anita paused all her other projects and, as “an act of public service,” decided to start a Black girl punk band.\u003c/p>\n\u003cp>“I knew the communities I belong to would be grieving — sad, devastated, overwhelmed,” she tells KQED via email. “I wanted to build a safe space for us. A place to rage, to dance, to scream and to let it all out.”\u003c/p>\n\u003cp>This weekend, Black Gold Sun will perform in another space designed to let it all out: \u003ca href=\"https://www.dollfest.net/home\">Doll Fest\u003c/a>, the two-day festival dedicated to femme-fronted bands from across the country. This year’s event will be held at Oakland’s California Ballroom on March 28 and 29, with a \u003ca href=\"https://tickets.venuepilot.com/e/doll-fest-vol-ii-pre-party-w-skip-the-needle-2026-03-27-ivy-room-albany-5b86b9\">pre-party\u003c/a> on March 27 at the female-owned Ivy Room in Albany. \u003c/p>\n\u003cfigure id=\"attachment_13987971\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly.jpg\" alt=\"\" width=\"1000\" height=\"903\" class=\"size-full wp-image-13987971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly-768x694.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Minneapolis punk trio VIAL plays this year’s Doll Fest. \u003ccite>(Katy Kelly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now in its second year, the homegrown festival is dedicated to smashing the patriarchy, amplifying feminine power through music. In addition to local groups at the vanguard such as Black Gold Sun, this year’s headliners include Minneapolis bratpunk trio \u003ca href=\"https://www.vialband.com/\">VIAL\u003c/a> and Fat Wreck Chords’ \u003ca href=\"https://badcopbadcopmusic.com/\">Bad Cop Bad Cop\u003c/a>. Also on the lineup are Denver beatmaker and MC \u003ca href=\"https://www.instagram.com/wheelchairsportscamp/\">Wheelchair Sportscamp\u003c/a>, trans alt-hip-hop artist \u003ca href=\"https://www.itsdamag3.com/\">DAMAG3\u003c/a>, and nine-piece all-female ska band \u003ca href=\"https://www.instagram.com/colectivosabinas/\">El Colectivo Sabinas\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Anything that uplifts, empowers, or highlights women’s creativity is a yes for me. The current state of the world is doing a number on women, and I want to contribute to their joy,” says Anita, who plays guitar and sings for Black Gold Sun. \u003c/p>\n\u003cp>Doll Fest founder Maria Chaos was similarly fed up with the status quo, and grew determined to create the change she wanted to see in punk.\u003c/p>\n\u003cp>“I became really tired of watching old white man bands hogging the stages and making these empty promises of tokenized statements,” she tells KQED via email. \u003c/p>\n\u003cfigure id=\"attachment_13987972\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13987972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">All-female ska band El Colectivo Sabinas. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria stepped up to the plate and built Doll Fest from the ground up alongside general manager and art director Freya Hausman, who until recently was the general manager of the Bay Area record label Alternative Tentacles. The two booked femme-led bands across the punk spectrum – from riot grrrl legends to ska-punk and alt-rock – \u003ca href=\"https://thebadcopy.com/interviews/maria-chaos-shares-the-birth-of-doll-fest-how-its-a-response-the-experience-of-booking-her-first-festival/\">prioritizing\u003c/a> a group’s enjoyment, draw and morals relative to the fest’s local audience and ethos. The inaugural Doll Fest took over Cornerstone in Berkeley, a city chosen for its \u003ca href=\"https://www.kron4.com/news/bay-area/doll-fest-amps-up-for-2-day-takeover-in-berkeley-we-want-people-to-feel-like-this-was-made-for-them/\">history of radical art and activism\u003c/a>, with headliners Tsunami Bomb and Naked Aggression. \u003c/p>\n\u003cp>Veronica, Black Gold Sun’s bassist, has exclusively played in all-female bands, and performed at multiple women-focused events. “Punk music has always been about challenges, rebellion, DIY culture. This festival gives space for female-fronted bands to be seen and heard, and for folks to experience a range of styles and messages that can keep the scene fresh and energized,” she says. \u003c/p>\n\u003cp>The energy is contagious – and expansive. Doll Fest has grown to include multiple auxiliary events including a comedy night, boxing meet-up, a vinyl compilation, multiple fundraisers, and a two-day festival in Mexico City headlined by legendary L.A. punk Alice Bag. “Before anyone asks, no this is not going to be Vans Warped Tour 2.0,” Maria adds.\u003c/p>\n\u003cp>“Having bands come from other areas to the Bay Area can be quite costly or difficult,” she continues. “This is a family, a community. If they can’t come to us then I want to go to them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mE3G38gLO4s\u003c/p>\n\u003cp>Doll Fest has a nationwide community of supporters. Just a few months after the first Doll Fest, Maria was at Florida’s \u003ca href=\"https://www.facebook.com/thefestfl/\">Fest\u003c/a> and spoke with many people who knew about her event. “They thought it was so cool and had been yearning for an event like this.”\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.instagram.com/p/DP6kJbwEdIO/\">Doll Fest benefit show\u003c/a> in November featuring \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">San Francisco OGs Frightwig\u003c/a>, a performer recalled becoming jaded with life and music. “[She said] this event had given her a spark that she hadn’t felt in years,” Maria remembered. “I was in tears at one point…because the room felt like you were walking into a giant hug.”\u003c/p>\n\u003cp>Black Gold Sun’s Anita Lofton considers a femme-focused festival to be a powerful acknowledgment.\u003c/p>\n\u003cp>“The plain and simple truth is that seeing something makes it possible,” she says. “When you see women performing punk music, you know it’s real.”\u003c/p>\n\u003cfigure id=\"attachment_13987974\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Cop Bad Cop, from Southern California, play this weekend’s Doll Fest. \u003ccite>(So Finch Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like any production, putting on Doll Fest comes with logistical and emotional challenges. Maria says she experiences stress, imposter syndrome, and sometimes fears that she’s letting her team down. \u003c/p>\n\u003cp>Still, “hearing about how this event brings a type of joy to peoples’ lives…fuel[s] the fire,” Maria says. “I’ll keep doing these until I die.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Doll Fest takes place Saturday and Sunday, March 28 and 29, at the California Ballroom (1726 Franklin St. Oakland). A pre-party gets underway Friday, March 27, at the Ivy Room. \u003c/i>\u003ca href=\"https://www.dollfest.net/\">\u003ci>Tickets and more details here\u003c/i>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anita Lofton and Veronica Savage have made noise in the Bay for more than a decade with their bands Sistas In The Pit and The Hail Marys – notable not just for their energy, but for the ways their identities intersect with their music. The two women are proudly Black, fiercely punk, unapologetically raw and have recently coalesced (along with drummer Q) into \u003ca href=\"https://www.instagram.com/blackgoldsun1/\">Black Gold Sun\u003c/a>. \u003c/p>\n\u003cp>After watching the 2024 election results, Anita paused all her other projects and, as “an act of public service,” decided to start a Black girl punk band.\u003c/p>\n\u003cp>“I knew the communities I belong to would be grieving — sad, devastated, overwhelmed,” she tells KQED via email. “I wanted to build a safe space for us. A place to rage, to dance, to scream and to let it all out.”\u003c/p>\n\u003cp>This weekend, Black Gold Sun will perform in another space designed to let it all out: \u003ca href=\"https://www.dollfest.net/home\">Doll Fest\u003c/a>, the two-day festival dedicated to femme-fronted bands from across the country. This year’s event will be held at Oakland’s California Ballroom on March 28 and 29, with a \u003ca href=\"https://tickets.venuepilot.com/e/doll-fest-vol-ii-pre-party-w-skip-the-needle-2026-03-27-ivy-room-albany-5b86b9\">pre-party\u003c/a> on March 27 at the female-owned Ivy Room in Albany. \u003c/p>\n\u003cfigure id=\"attachment_13987971\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly.jpg\" alt=\"\" width=\"1000\" height=\"903\" class=\"size-full wp-image-13987971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly-768x694.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Minneapolis punk trio VIAL plays this year’s Doll Fest. \u003ccite>(Katy Kelly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now in its second year, the homegrown festival is dedicated to smashing the patriarchy, amplifying feminine power through music. In addition to local groups at the vanguard such as Black Gold Sun, this year’s headliners include Minneapolis bratpunk trio \u003ca href=\"https://www.vialband.com/\">VIAL\u003c/a> and Fat Wreck Chords’ \u003ca href=\"https://badcopbadcopmusic.com/\">Bad Cop Bad Cop\u003c/a>. Also on the lineup are Denver beatmaker and MC \u003ca href=\"https://www.instagram.com/wheelchairsportscamp/\">Wheelchair Sportscamp\u003c/a>, trans alt-hip-hop artist \u003ca href=\"https://www.itsdamag3.com/\">DAMAG3\u003c/a>, and nine-piece all-female ska band \u003ca href=\"https://www.instagram.com/colectivosabinas/\">El Colectivo Sabinas\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Anything that uplifts, empowers, or highlights women’s creativity is a yes for me. The current state of the world is doing a number on women, and I want to contribute to their joy,” says Anita, who plays guitar and sings for Black Gold Sun. \u003c/p>\n\u003cp>Doll Fest founder Maria Chaos was similarly fed up with the status quo, and grew determined to create the change she wanted to see in punk.\u003c/p>\n\u003cp>“I became really tired of watching old white man bands hogging the stages and making these empty promises of tokenized statements,” she tells KQED via email. \u003c/p>\n\u003cfigure id=\"attachment_13987972\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13987972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">All-female ska band El Colectivo Sabinas. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria stepped up to the plate and built Doll Fest from the ground up alongside general manager and art director Freya Hausman, who until recently was the general manager of the Bay Area record label Alternative Tentacles. The two booked femme-led bands across the punk spectrum – from riot grrrl legends to ska-punk and alt-rock – \u003ca href=\"https://thebadcopy.com/interviews/maria-chaos-shares-the-birth-of-doll-fest-how-its-a-response-the-experience-of-booking-her-first-festival/\">prioritizing\u003c/a> a group’s enjoyment, draw and morals relative to the fest’s local audience and ethos. The inaugural Doll Fest took over Cornerstone in Berkeley, a city chosen for its \u003ca href=\"https://www.kron4.com/news/bay-area/doll-fest-amps-up-for-2-day-takeover-in-berkeley-we-want-people-to-feel-like-this-was-made-for-them/\">history of radical art and activism\u003c/a>, with headliners Tsunami Bomb and Naked Aggression. \u003c/p>\n\u003cp>Veronica, Black Gold Sun’s bassist, has exclusively played in all-female bands, and performed at multiple women-focused events. “Punk music has always been about challenges, rebellion, DIY culture. This festival gives space for female-fronted bands to be seen and heard, and for folks to experience a range of styles and messages that can keep the scene fresh and energized,” she says. \u003c/p>\n\u003cp>The energy is contagious – and expansive. Doll Fest has grown to include multiple auxiliary events including a comedy night, boxing meet-up, a vinyl compilation, multiple fundraisers, and a two-day festival in Mexico City headlined by legendary L.A. punk Alice Bag. “Before anyone asks, no this is not going to be Vans Warped Tour 2.0,” Maria adds.\u003c/p>\n\u003cp>“Having bands come from other areas to the Bay Area can be quite costly or difficult,” she continues. “This is a family, a community. If they can’t come to us then I want to go to them.”\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/mE3G38gLO4s'\n title='//www.youtube.com/embed/mE3G38gLO4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Doll Fest has a nationwide community of supporters. Just a few months after the first Doll Fest, Maria was at Florida’s \u003ca href=\"https://www.facebook.com/thefestfl/\">Fest\u003c/a> and spoke with many people who knew about her event. “They thought it was so cool and had been yearning for an event like this.”\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.instagram.com/p/DP6kJbwEdIO/\">Doll Fest benefit show\u003c/a> in November featuring \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">San Francisco OGs Frightwig\u003c/a>, a performer recalled becoming jaded with life and music. “[She said] this event had given her a spark that she hadn’t felt in years,” Maria remembered. “I was in tears at one point…because the room felt like you were walking into a giant hug.”\u003c/p>\n\u003cp>Black Gold Sun’s Anita Lofton considers a femme-focused festival to be a powerful acknowledgment.\u003c/p>\n\u003cp>“The plain and simple truth is that seeing something makes it possible,” she says. “When you see women performing punk music, you know it’s real.”\u003c/p>\n\u003cfigure id=\"attachment_13987974\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Cop Bad Cop, from Southern California, play this weekend’s Doll Fest. \u003ccite>(So Finch Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like any production, putting on Doll Fest comes with logistical and emotional challenges. Maria says she experiences stress, imposter syndrome, and sometimes fears that she’s letting her team down. \u003c/p>\n\u003cp>Still, “hearing about how this event brings a type of joy to peoples’ lives…fuel[s] the fire,” Maria says. “I’ll keep doing these until I die.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Doll Fest takes place Saturday and Sunday, March 28 and 29, at the California Ballroom (1726 Franklin St. Oakland). A pre-party gets underway Friday, March 27, at the Ivy Room. \u003c/i>\u003ca href=\"https://www.dollfest.net/\">\u003ci>Tickets and more details here\u003c/i>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Palestinian filmmaker Annemarie Jacir’s fourth and most ambitious feature, \u003cem>\u003ca href=\"https://www.watermelonpictures.com/films/palestine-36\">Palestine ’36\u003c/a>\u003c/em> (opening Friday, March 27 at several Bay Area theaters), is the kind of movie that critics like to say nobody makes anymore: an expensive, expansive period piece that movingly depicts the impossible sacrifices of everyday people against a backdrop of geopolitical events whose consequences reverberate to this very minute.\u003c/p>\n\u003cp>Palestine’s submission for the Best International Feature Oscar (it was shortlisted but not nominated), \u003cem>Palestine ’36\u003c/em> has both the virtues and flaws of the typical historical epic in that it necessarily compresses multiple perspectives into two hours. While the stakes are made palpable and our emotional connections to the characters are solid, key dramatic events come and go in a flash and some of the dialogue is overly succinct and on the nose.\u003c/p>\n\u003cp>“Your land is where your people are buried,” a grandmother instructs her granddaughter. “You have something more powerful than the entire British Empire. You come from a line of brave people who love their land.”\u003c/p>\n\u003cfigure id=\"attachment_13987961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2.jpg\" alt=\"two children run through flowering field\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Wardi Eilabouni as Afra (left). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A speech underscoring the values of home, identity and ownership comes with the territory, pardon the pun. Jacir’s great contribution is immersing us in pre-World War II Palestine through careful attention to clothes and settings, augmented with restored and colorized archival footage. It is a pleasure to inhabit a physical, analog world where you can practically taste the dust and the grape leaves, and a 19th-century single-shot pistol has the weight of the world.\u003c/p>\n\u003cp>Shot on location in Palestine and Jordan, \u003cem>Palestine ’36\u003c/em> is at heart a multi-generational mosaic of profiles in radicalization. Surely you aren’t surprised to hear that this is a politically charged film, although (for better or worse) it never stops in its tracks for a utopian debate of principles and tactics à la English filmmaker Ken Loach (\u003cem>Land and Freedom\u003c/em>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story begins in 1936 when a young villager, Yusuf (Karim Daoud Anaya), comes to Jerusalem to be the assistant to a well-off publisher whose independent wife, Khouloud (Yasmine Al Massri), is an accomplished journalist. The traditional agrarian life of the nearby villages is conveyed through the aforementioned grandmother (a fierce Hiam Abbas), her widowed daughter Rabab (Yafa Bakri) and granddaughter Afra (Wardi Eilabouni).\u003c/p>\n\u003cfigure id=\"attachment_13987962\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3.jpg\" alt=\"three military men drive in open-topped car\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Robert Aramayo as Captain Wingate (far right). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Great Britain has been in charge of Palestine since the end of World War I, and the Brits are represented here by doddering High Commissioner Wauchope (Jeremy Irons), idealistic young diplomat Thomas (Billy Howle) and the singularly brutal Captain Wingate (Robert Aramayo).\u003c/p>\n\u003cp>Although there have been Jews in Palestine for centuries — with tensions and violence between Jews and Palestinians simmering for a while and the Jewish population increasing as Europeans flee anti-Semitism — it’s important to note that \u003cem>Palestine ’36\u003c/em> is a saga of the conflict between the indigenous Arabs and the occupying British. The Jewish settlers are almost entirely off-screen, although their presence and influence is referenced throughout the film.\u003c/p>\n\u003cp>The Arabs see the British as siding with the Zionists through a mix of condescension, prejudice and the calculations of out-of-touch London politicians. Yet not all the Arabs have thrown in with the armed rebels living in the mountains; some of the old-line, land-owning establishment types are hedging their bets by staying aligned with the British.\u003c/p>\n\u003cfigure id=\"attachment_13987963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4.jpg\" alt=\"suited women march with banners\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Yasmine Al Massri as Khouloud (second from right). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the story centers on colonialists and insurgents of another time, it’s impossible to miss the contemporary echoes in some of Jacir’s compositions. Women throwing stones at fleeing British soldiers call to mind the images of children throwing stones at Israeli soldiers during the first intifada. The British army blowing up stone Palestinian houses inevitably calls down through the years to the Israeli army destroying Palestinian houses on various dubious premises.\u003c/p>\n\u003cp>Roger Ebert defined the movies as a great empathy machine, in that we see and identify with people whose lives are not ours. As we sit here today, the hideous crimes perpetuated against Palestinians and Israelis by each other in the last few years have had the additional effect of hardening everyone’s attitudes and positions.\u003c/p>\n\u003cp>\u003cem>Palestine ’36\u003c/em> may not be a film that wins or changes hearts and minds. It does offer an opening, for those who want to take it, to step into the realm of compassion, if only for two hours.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Palestine ’36’ opens Friday, March 27 at \u003ca href=\"https://www.watermelonpictures.com/films/palestine-36\">select Bay Area theaters\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Palestinian filmmaker Annemarie Jacir’s fourth and most ambitious feature, \u003cem>\u003ca href=\"https://www.watermelonpictures.com/films/palestine-36\">Palestine ’36\u003c/a>\u003c/em> (opening Friday, March 27 at several Bay Area theaters), is the kind of movie that critics like to say nobody makes anymore: an expensive, expansive period piece that movingly depicts the impossible sacrifices of everyday people against a backdrop of geopolitical events whose consequences reverberate to this very minute.\u003c/p>\n\u003cp>Palestine’s submission for the Best International Feature Oscar (it was shortlisted but not nominated), \u003cem>Palestine ’36\u003c/em> has both the virtues and flaws of the typical historical epic in that it necessarily compresses multiple perspectives into two hours. While the stakes are made palpable and our emotional connections to the characters are solid, key dramatic events come and go in a flash and some of the dialogue is overly succinct and on the nose.\u003c/p>\n\u003cp>“Your land is where your people are buried,” a grandmother instructs her granddaughter. “You have something more powerful than the entire British Empire. You come from a line of brave people who love their land.”\u003c/p>\n\u003cfigure id=\"attachment_13987961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2.jpg\" alt=\"two children run through flowering field\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Wardi Eilabouni as Afra (left). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A speech underscoring the values of home, identity and ownership comes with the territory, pardon the pun. Jacir’s great contribution is immersing us in pre-World War II Palestine through careful attention to clothes and settings, augmented with restored and colorized archival footage. It is a pleasure to inhabit a physical, analog world where you can practically taste the dust and the grape leaves, and a 19th-century single-shot pistol has the weight of the world.\u003c/p>\n\u003cp>Shot on location in Palestine and Jordan, \u003cem>Palestine ’36\u003c/em> is at heart a multi-generational mosaic of profiles in radicalization. Surely you aren’t surprised to hear that this is a politically charged film, although (for better or worse) it never stops in its tracks for a utopian debate of principles and tactics à la English filmmaker Ken Loach (\u003cem>Land and Freedom\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story begins in 1936 when a young villager, Yusuf (Karim Daoud Anaya), comes to Jerusalem to be the assistant to a well-off publisher whose independent wife, Khouloud (Yasmine Al Massri), is an accomplished journalist. The traditional agrarian life of the nearby villages is conveyed through the aforementioned grandmother (a fierce Hiam Abbas), her widowed daughter Rabab (Yafa Bakri) and granddaughter Afra (Wardi Eilabouni).\u003c/p>\n\u003cfigure id=\"attachment_13987962\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3.jpg\" alt=\"three military men drive in open-topped car\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Robert Aramayo as Captain Wingate (far right). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Great Britain has been in charge of Palestine since the end of World War I, and the Brits are represented here by doddering High Commissioner Wauchope (Jeremy Irons), idealistic young diplomat Thomas (Billy Howle) and the singularly brutal Captain Wingate (Robert Aramayo).\u003c/p>\n\u003cp>Although there have been Jews in Palestine for centuries — with tensions and violence between Jews and Palestinians simmering for a while and the Jewish population increasing as Europeans flee anti-Semitism — it’s important to note that \u003cem>Palestine ’36\u003c/em> is a saga of the conflict between the indigenous Arabs and the occupying British. The Jewish settlers are almost entirely off-screen, although their presence and influence is referenced throughout the film.\u003c/p>\n\u003cp>The Arabs see the British as siding with the Zionists through a mix of condescension, prejudice and the calculations of out-of-touch London politicians. Yet not all the Arabs have thrown in with the armed rebels living in the mountains; some of the old-line, land-owning establishment types are hedging their bets by staying aligned with the British.\u003c/p>\n\u003cfigure id=\"attachment_13987963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4.jpg\" alt=\"suited women march with banners\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Yasmine Al Massri as Khouloud (second from right). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the story centers on colonialists and insurgents of another time, it’s impossible to miss the contemporary echoes in some of Jacir’s compositions. Women throwing stones at fleeing British soldiers call to mind the images of children throwing stones at Israeli soldiers during the first intifada. The British army blowing up stone Palestinian houses inevitably calls down through the years to the Israeli army destroying Palestinian houses on various dubious premises.\u003c/p>\n\u003cp>Roger Ebert defined the movies as a great empathy machine, in that we see and identify with people whose lives are not ours. As we sit here today, the hideous crimes perpetuated against Palestinians and Israelis by each other in the last few years have had the additional effect of hardening everyone’s attitudes and positions.\u003c/p>\n\u003cp>\u003cem>Palestine ’36\u003c/em> may not be a film that wins or changes hearts and minds. It does offer an opening, for those who want to take it, to step into the realm of compassion, if only for two hours.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Palestine ’36’ opens Friday, March 27 at \u003ca href=\"https://www.watermelonpictures.com/films/palestine-36\">select Bay Area theaters\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For a few hours on March 28, downtown \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San José\u003c/a> will be taken over by cats.\u003c/p>\n\u003cp>When San José Cat Day returns Saturday for its second year, it will bring double the participants as its debut in 2025, and three separate locations dedicated to feline festivities: an exhibit of original cat art, 60 vendors selling cat-themed merchandise, a cat-themed cafe and actual cats in a “kitten lounge.”\u003c/p>\n\u003cp>One returning vendor from 2025 is Jessica Chun, who first met Kevin Biggers of San José Made while he was planning the inaugural San José Cat Day. They bonded over their love of Garfield, which led to her being commissioned to design the event poster.\u003c/p>\n\u003cp>“It was by far like the most successful event poster that we’ve ever posted on our Instagram,” Biggers said. Chun, who’ll display her new prints, stickers, tote bags and keychains at this year’s event, created this year’s poster as well.\u003c/p>\n\u003cfigure id=\"attachment_13987944\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic.jpg\" alt=\"\" width=\"2000\" height=\"2080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-768x799.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-1477x1536.jpg 1477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-1969x2048.jpg 1969w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Chun, who goes by Cocochoon, sells her cat-themed prints, charms and other wares. \u003ccite>(Courtesy Cocochoon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the event’s biggest draws is the kitten lounge, where visitors can pet and play with kittens, similar to cat cafes in Japan. Over 20 kittens will be available for adoption. (The limited slots have high demand, and visitors need to book appointments in advance.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though this is only the second San José Cat Day, the event reflects something larger for cat lovers. Cats have historically been tied to stereotypes like the “\u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\">crazy cat lady\u003c/a>,” but have seen a surge in popularity, and pop-culture reframing, through social media and anime.\u003c/p>\n\u003cp>[aside postID='arts_13978816']Last year’s event drew a huge crowd of both people and cats. Many cats were seen carried in bubble backpacks peeking out as they moved through the event.\u003cbr>\n“It was very cute to see the cat owners talking to each other and connecting over this love of cats,” Chun said.\u003c/p>\n\u003cp>For Biggers, who describes himself as a cat enthusiast, the appeal of the event is as much about the people as it is about pets.\u003c/p>\n\u003cp>“I think it brings out the community of cat lovers or cat enthusiasts,” Biggers said. “It shows that it’s not necessarily a solitary endeavor or solitary hobby. There are a lot of people who are really cat people, even if they don’t own a cat themselves.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San José Cat Day takes place Saturday, March 28, from 11 a.m.–5 p.m. at various locations in downtown San José. \u003ca href=\"https://www.sanjosemade.com/pages/san-jose-cat-day-2026\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a few hours on March 28, downtown \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San José\u003c/a> will be taken over by cats.\u003c/p>\n\u003cp>When San José Cat Day returns Saturday for its second year, it will bring double the participants as its debut in 2025, and three separate locations dedicated to feline festivities: an exhibit of original cat art, 60 vendors selling cat-themed merchandise, a cat-themed cafe and actual cats in a “kitten lounge.”\u003c/p>\n\u003cp>One returning vendor from 2025 is Jessica Chun, who first met Kevin Biggers of San José Made while he was planning the inaugural San José Cat Day. They bonded over their love of Garfield, which led to her being commissioned to design the event poster.\u003c/p>\n\u003cp>“It was by far like the most successful event poster that we’ve ever posted on our Instagram,” Biggers said. Chun, who’ll display her new prints, stickers, tote bags and keychains at this year’s event, created this year’s poster as well.\u003c/p>\n\u003cfigure id=\"attachment_13987944\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic.jpg\" alt=\"\" width=\"2000\" height=\"2080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-768x799.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-1477x1536.jpg 1477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/chun_vendor_pic-1969x2048.jpg 1969w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Chun, who goes by Cocochoon, sells her cat-themed prints, charms and other wares. \u003ccite>(Courtesy Cocochoon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the event’s biggest draws is the kitten lounge, where visitors can pet and play with kittens, similar to cat cafes in Japan. Over 20 kittens will be available for adoption. (The limited slots have high demand, and visitors need to book appointments in advance.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though this is only the second San José Cat Day, the event reflects something larger for cat lovers. Cats have historically been tied to stereotypes like the “\u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\">crazy cat lady\u003c/a>,” but have seen a surge in popularity, and pop-culture reframing, through social media and anime.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last year’s event drew a huge crowd of both people and cats. Many cats were seen carried in bubble backpacks peeking out as they moved through the event.\u003cbr>\n“It was very cute to see the cat owners talking to each other and connecting over this love of cats,” Chun said.\u003c/p>\n\u003cp>For Biggers, who describes himself as a cat enthusiast, the appeal of the event is as much about the people as it is about pets.\u003c/p>\n\u003cp>“I think it brings out the community of cat lovers or cat enthusiasts,” Biggers said. “It shows that it’s not necessarily a solitary endeavor or solitary hobby. There are a lot of people who are really cat people, even if they don’t own a cat themselves.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San José Cat Day takes place Saturday, March 28, from 11 a.m.–5 p.m. at various locations in downtown San José. \u003ca href=\"https://www.sanjosemade.com/pages/san-jose-cat-day-2026\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’ve been asking my pregnant friends the same aghast question for about 20 years now: “Aren’t you worried about \u003ca href=\"https://www.kqed.org/climate\">climate change\u003c/a>?”\u003c/p>\n\u003cp>More recently, that query has morphed into a far more frenzied: “Aren’t you worried about climate change, and fascism, and \u003cem>the robots that are already \u003ca href=\"https://www.npr.org/2026/02/18/nx-s1-5717561/do-the-people-building-the-ai-chatbot-claude-understand-what-theyve-created\">plotting to kill us\u003c/a>\u003c/em>?”\u003c/p>\n\u003cp>As soon as his wife got pregnant a few years ago, Daniel Roher started worrying about those things as well — particularly that last one. Rather than simply collapsing into despair, Roher channeled his anxiety into thoroughly exploring the myths and realities of \u003ca href=\"https://www.kqed.org/arts/tag/artificial-intelligence\">AI\u003c/a> as we currently know it. The resulting documentary, \u003cem>The AI Doc: Or How I Became an Apocaloptimist\u003c/em>, consults a plethora of experts on the topic, with often confusing results.\u003c/p>\n\u003cp>[aside postid='news_12076608'] Roher gathers the interviewees into three broad groups: the terrifyingly pessimistic ones, the naively optimistic ones and the CEOs who are casually working on something that may or may not spark humanity’s demise. (Well, three out of five of them, anyway: OpenAI CEO Sam Altman, Google DeepMind CEO Demis Hassabis and Anthropic CEO Dario Amodei all appear. Mark Zuckerberg declined to participate and Elon Musk apparently backed out at the last minute.)\u003c/p>\n\u003cp>The worst AI predictions are presented first. Eliezer Yudkowsky, co-founder of the Machine Intelligence Research Institute, calmly talks of the “abrupt extermination” of humanity. Author and historian Yuval Noah Harari calls AI “a deadly threat.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Center for Humane Technology President Tristan Harris — one of the most measured commentators in the movie — also shares some truly sobering views, the worst of which is that he knows active AI researchers who “don’t expect their children to make it to high school.” It doesn’t help matters that machine learning researcher Shane Legg follows this with the assertion, “The really powerful systems are coming and they’re coming soon — this is all just a warm-up.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xkPbV3IRe4Y\u003c/p>\n\u003cp>When the AI optimists arrive, it’s to assert that smart machines might one day save humanity from disease, climate change and asteroids. Canadian physicist Guillaume Verdon is the perkiest of them all, calling our present era “a glorious period of human transformation.” While the pessimists suggest that super-intelligent machines are going to end civilization as we know it, the optimists are convinced that humanity won’t survive \u003cem>without\u003c/em> the assistance of AI that is smarter than us. (Roher rightfully wonders aloud at this stage how AI is going to save us from climate change when data centers pose such \u003ca href=\"https://netzeroinsights.com/resources/data-centers-environmental-cost/\">well-established threats to ecosystems\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13982572']When Roher asks Aza Raskin, co-founder of the Center for Humane Technology and Earth Species Project, who’s closer to the truth — the pessimists or the optimists — Raskin offers the frustratingly opaque: “They’re both right and neither side goes far enough.”\u003c/p>\n\u003cp>\u003cem>The AI Doc\u003c/em>, then, is an appropriately confounding documentary for a labyrinthian topic that is, at its core, too immense for most laypeople to fully grapple with yet. Roher makes for a relatable everyman throughout this rollercoaster of dread, relief, hope and fear.\u003c/p>\n\u003cfigure id=\"attachment_13987074\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987074\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/daniel-roher-stress-e1771966666457.png\" alt=\"A middle aged white man clutches handfuls of his own hair, elbows resting on a desk in front of him, with a stressed facial expression.\" width=\"2000\" height=\"1210\">\u003cfigcaption class=\"wp-caption-text\">Director Daniel Roher having an on-camera existential crisis about AI in ‘The AI Doc.’ Relatable! \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time the AI CEOs arrive — they show up late in the picture and are, mercifully, not permitted to dominate the conversation — the film mostly confirms that predictions for AI’s endgame lie entirely in the eye of the beholder. It’s certainly interesting that each CEO seems to believe his company is more morally sound than the next.\u003c/p>\n\u003cp>In his conversations with Roher, Sam Altman talks a good game about the safety protocols that OpenAI has in place. Given his company’s highly controversial new \u003ca href=\"https://www.npr.org/2026/03/08/nx-s1-5741779/openai-resigns-ai-pentagon-guardrails-military\">contract with the Department of Defense\u003c/a>, his words will either ring hollow or serve as comfort, depending on your viewpoint. For his part in \u003cem>The AI Doc\u003c/em>, Anthropic’s Dario Amodei simply says, “Am I confident that everything’s going to work out? No, I’m not.” Hassabis is even more vague: “If something is possible to do, humanity is going to do it,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13985929']In the end, Roher’s foremost question in the documentary — “Is now a terrible time to have a kid?” — does get an answer of sorts. That, broadly, is a resounding “Yes, but…” The “but” here is that it’s probably \u003cem>never\u003c/em> been a great time to have kids, so why stop now? Roher’s own parents try to comfort him with the fact that they started their own family in the midst of the Cold War, when the threat of nuclear annihilation felt ever-present.\u003c/p>\n\u003cp>If Roher started the project seeking comfort, you can rest (un)assured after viewing \u003cem>The AI Doc\u003c/em> that Roher did not find what he was looking for — not in any real, permanent sense, anyway. It’s unlikely that most viewers will reach any solid conclusions either. The feeling I left \u003cem>The AI Doc\u003c/em> with is that the future of AI is overwhelmingly — and unfortunately — out of the hands of everyday people. That we’re being forced to put our faith in tech executives to make the right decisions is probably the scariest thing of all.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The AI Doc: Or How I Became An Apocaloptimist’ is released nationwide on March 27, 2026.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve been asking my pregnant friends the same aghast question for about 20 years now: “Aren’t you worried about \u003ca href=\"https://www.kqed.org/climate\">climate change\u003c/a>?”\u003c/p>\n\u003cp>More recently, that query has morphed into a far more frenzied: “Aren’t you worried about climate change, and fascism, and \u003cem>the robots that are already \u003ca href=\"https://www.npr.org/2026/02/18/nx-s1-5717561/do-the-people-building-the-ai-chatbot-claude-understand-what-theyve-created\">plotting to kill us\u003c/a>\u003c/em>?”\u003c/p>\n\u003cp>As soon as his wife got pregnant a few years ago, Daniel Roher started worrying about those things as well — particularly that last one. Rather than simply collapsing into despair, Roher channeled his anxiety into thoroughly exploring the myths and realities of \u003ca href=\"https://www.kqed.org/arts/tag/artificial-intelligence\">AI\u003c/a> as we currently know it. The resulting documentary, \u003cem>The AI Doc: Or How I Became an Apocaloptimist\u003c/em>, consults a plethora of experts on the topic, with often confusing results.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Roher gathers the interviewees into three broad groups: the terrifyingly pessimistic ones, the naively optimistic ones and the CEOs who are casually working on something that may or may not spark humanity’s demise. (Well, three out of five of them, anyway: OpenAI CEO Sam Altman, Google DeepMind CEO Demis Hassabis and Anthropic CEO Dario Amodei all appear. Mark Zuckerberg declined to participate and Elon Musk apparently backed out at the last minute.)\u003c/p>\n\u003cp>The worst AI predictions are presented first. Eliezer Yudkowsky, co-founder of the Machine Intelligence Research Institute, calmly talks of the “abrupt extermination” of humanity. Author and historian Yuval Noah Harari calls AI “a deadly threat.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Center for Humane Technology President Tristan Harris — one of the most measured commentators in the movie — also shares some truly sobering views, the worst of which is that he knows active AI researchers who “don’t expect their children to make it to high school.” It doesn’t help matters that machine learning researcher Shane Legg follows this with the assertion, “The really powerful systems are coming and they’re coming soon — this is all just a warm-up.”\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/xkPbV3IRe4Y'\n title='//www.youtube.com/embed/xkPbV3IRe4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When the AI optimists arrive, it’s to assert that smart machines might one day save humanity from disease, climate change and asteroids. Canadian physicist Guillaume Verdon is the perkiest of them all, calling our present era “a glorious period of human transformation.” While the pessimists suggest that super-intelligent machines are going to end civilization as we know it, the optimists are convinced that humanity won’t survive \u003cem>without\u003c/em> the assistance of AI that is smarter than us. (Roher rightfully wonders aloud at this stage how AI is going to save us from climate change when data centers pose such \u003ca href=\"https://netzeroinsights.com/resources/data-centers-environmental-cost/\">well-established threats to ecosystems\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When Roher asks Aza Raskin, co-founder of the Center for Humane Technology and Earth Species Project, who’s closer to the truth — the pessimists or the optimists — Raskin offers the frustratingly opaque: “They’re both right and neither side goes far enough.”\u003c/p>\n\u003cp>\u003cem>The AI Doc\u003c/em>, then, is an appropriately confounding documentary for a labyrinthian topic that is, at its core, too immense for most laypeople to fully grapple with yet. Roher makes for a relatable everyman throughout this rollercoaster of dread, relief, hope and fear.\u003c/p>\n\u003cfigure id=\"attachment_13987074\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987074\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/daniel-roher-stress-e1771966666457.png\" alt=\"A middle aged white man clutches handfuls of his own hair, elbows resting on a desk in front of him, with a stressed facial expression.\" width=\"2000\" height=\"1210\">\u003cfigcaption class=\"wp-caption-text\">Director Daniel Roher having an on-camera existential crisis about AI in ‘The AI Doc.’ Relatable! \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time the AI CEOs arrive — they show up late in the picture and are, mercifully, not permitted to dominate the conversation — the film mostly confirms that predictions for AI’s endgame lie entirely in the eye of the beholder. It’s certainly interesting that each CEO seems to believe his company is more morally sound than the next.\u003c/p>\n\u003cp>In his conversations with Roher, Sam Altman talks a good game about the safety protocols that OpenAI has in place. Given his company’s highly controversial new \u003ca href=\"https://www.npr.org/2026/03/08/nx-s1-5741779/openai-resigns-ai-pentagon-guardrails-military\">contract with the Department of Defense\u003c/a>, his words will either ring hollow or serve as comfort, depending on your viewpoint. For his part in \u003cem>The AI Doc\u003c/em>, Anthropic’s Dario Amodei simply says, “Am I confident that everything’s going to work out? No, I’m not.” Hassabis is even more vague: “If something is possible to do, humanity is going to do it,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the end, Roher’s foremost question in the documentary — “Is now a terrible time to have a kid?” — does get an answer of sorts. That, broadly, is a resounding “Yes, but…” The “but” here is that it’s probably \u003cem>never\u003c/em> been a great time to have kids, so why stop now? Roher’s own parents try to comfort him with the fact that they started their own family in the midst of the Cold War, when the threat of nuclear annihilation felt ever-present.\u003c/p>\n\u003cp>If Roher started the project seeking comfort, you can rest (un)assured after viewing \u003cem>The AI Doc\u003c/em> that Roher did not find what he was looking for — not in any real, permanent sense, anyway. It’s unlikely that most viewers will reach any solid conclusions either. The feeling I left \u003cem>The AI Doc\u003c/em> with is that the future of AI is overwhelmingly — and unfortunately — out of the hands of everyday people. That we’re being forced to put our faith in tech executives to make the right decisions is probably the scariest thing of all.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The AI Doc: Or How I Became An Apocaloptimist’ is released nationwide on March 27, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a> is, let’s admit, a tough space to fill with art. Its largest gallery is hangar-like, with impossibly high ceilings, one wall of windows and no interior divisions to speak of. Much of the artwork made at a human scale has a tendency to disappear in there, dwarfed by the spaciousness of its surroundings.\u003c/p>\n\u003cp>This is decidedly not the case with \u003ca href=\"https://ybca.org/event/diedrick-brackens-gather-tender-night/\">\u003ci>gather tender night\u003c/i>\u003c/a>, an exhibition of recent textile work by Bay Area artist (and California College of the Arts faculty member) Diedrick Brackens. His 15 large-scale textiles, hand-dyed and woven on floor looms, stretch to over 20 feet in length, softly hanging from walls, frames and ceiling throughout the well-arranged show. \u003c/p>\n\u003cp>I wish I could write this review without mentioning \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">the upcoming closure of CCA\u003c/a>, which is also Brackens’ alma mater. After graduating from the school’s MFA program in 2014, Brackens returned to CCA a decade later as faculty, with international museum exhibitions and a \u003ca href=\"https://jackshainman.com/artists/diedrick_brackens\">New York gallery\u003c/a> under his belt. I cannot think of a better example of how an art school draws talented people to a region — and gives local audiences access to work they’d otherwise have to travel elsewhere to see. (This is Brackens’ first solo exhibition in the Bay Area.)\u003c/p>\n\u003cfigure id=\"attachment_13987917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000.jpg\" alt=\"gallery view with large hanging textiles\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Diedrick Brackens’ ‘gather tender night’ at Yerba Buena Center for the Arts. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Eungie Joo, who also organized YBCA’s comeback exhibition \u003ci>\u003ca href=\"https://www.kqed.org/arts/13979705/ybca-bay-area-then-1990s-rigo-23-margaret-kilgallen\">Bay Area Then\u003c/a>\u003c/i> last summer, \u003ci>gather tender night\u003c/i> is a balance of monumental, colorful panels and delicate, tender scenes. In Brackens’ textiles, silhouetted bodies blend into peaceful landscapes and populate fairytale scenarios (\u003ci>to soothe a myth\u003c/i> features a rearing unicorn). There is something elemental about these figures, which bend in half, raise their arms to the sky and gaze up, seemingly in awe of their surroundings. \u003c/p>\n\u003cp>Part of the dreaminess of Brackens’ work comes from his color choices. The oldest work in the show, dating back to 2020, is made with a scintillating combination of bright vermillion and turquoise. Then, a shift to yellows and muted purples; next, desaturated jewel tones; and finally, in his most recent pieces, mauve, oceanic greens and blues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After dying lengths of cotton fiber in his studio, the weaving process causes sections of color to shift and misregister slightly, blurring the edges of shapes. Brackens plays off that painterly effect by leaving tails of black yarn dangling, like drips, from his silhouettes. \u003c/p>\n\u003cp>The best part of seeing \u003ci>gather tender night\u003c/i> at YBCA — and all the space that venue allows — is that visitors get to walk around many of the works. Two pieces hang from handsome wooden racks that nod to Brackens’ floor looms. Others hang from the two walls of a framed-out domestic space, which includes an installation of a bed (covered with a woven textile, of course), an overturned basket and a pile of pungent yellow soap. \u003c/p>\n\u003cfigure id=\"attachment_13987916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000.jpg\" alt=\"black silhouette and gray silhouette bend around each other\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diedrick Brackens, ‘you’ll never get to heaven if you break my heart’ (detail), 2026; Woven cotton and acrylic yarn. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On an “interior” wall hangs Brackens’ sole work that places his figures indoors, one bending backward to kiss another. The pair’s arms bracket each other’s heads in arcs of mutual protection. \u003c/p>\n\u003cp>Even visitors with minimal knowledge of what it means to make a double weave textile can intuit the construction of Brackens’ works, thanks to these airy hanging arrangements. On the versos, color-inverted landscapes become devoid of figures, which Brackens embroiders onto a textile’s surface.\u003c/p>\n\u003cp>Some of the most poetic moments in \u003ci>gather tender night\u003c/i> come from the juxtaposition of front and back. On \u003ci>blood compass\u003c/i>, the show’s largest piece, two figures look up at a flock of geese, a lighthouse in the background. But on the other side of the textile, the geese, water and lighthouse are alone. A few glimpses of black thread signal the figures’ ghostly presence.\u003c/p>\n\u003cfigure id=\"attachment_13987915\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000.jpg\" alt=\"two textiles with plants and seated figures\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diedrick Brackens, ‘commitments’ and ‘help is available,’ 2025; both woven cotton and acrylic yarn. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other works, figures blend into foliage, appearing on a textile’s surface only in bits and pieces. \u003ci>commitments\u003c/i> and \u003ci>help is available\u003c/i>, both from 2025, show figures sitting cross-legged, arms raised above their heads. In the former, branches of angel’s trumpet occlude the heads and arms. In the latter, a bush of devil’s trumpet surrounds a torso and legs. Here, the repeated pose looks like a call for salvation.\u003c/p>\n\u003cp>Brackens’ dusky hues, especially in the more recent pieces, speak to night as a period of possibility, of slippery identity and greater freedom. But just as there is a flip side to each textile, so night gives way to day, and its potential for both visibility and accompanying violence. Brackens’ great skill is holding these realities together, embedding danger within softness, and giving his figures the freedom to stretch their arms, legs and eyes to a beautiful sherbet sky.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/diedrick-brackens-gather-tender-night/\">gather tender night\u003c/a>’ is on view at Yerba Buena Center for the Arts (701 Mission St., San Francisco) through Aug. 23, 2026.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a> is, let’s admit, a tough space to fill with art. Its largest gallery is hangar-like, with impossibly high ceilings, one wall of windows and no interior divisions to speak of. Much of the artwork made at a human scale has a tendency to disappear in there, dwarfed by the spaciousness of its surroundings.\u003c/p>\n\u003cp>This is decidedly not the case with \u003ca href=\"https://ybca.org/event/diedrick-brackens-gather-tender-night/\">\u003ci>gather tender night\u003c/i>\u003c/a>, an exhibition of recent textile work by Bay Area artist (and California College of the Arts faculty member) Diedrick Brackens. His 15 large-scale textiles, hand-dyed and woven on floor looms, stretch to over 20 feet in length, softly hanging from walls, frames and ceiling throughout the well-arranged show. \u003c/p>\n\u003cp>I wish I could write this review without mentioning \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">the upcoming closure of CCA\u003c/a>, which is also Brackens’ alma mater. After graduating from the school’s MFA program in 2014, Brackens returned to CCA a decade later as faculty, with international museum exhibitions and a \u003ca href=\"https://jackshainman.com/artists/diedrick_brackens\">New York gallery\u003c/a> under his belt. I cannot think of a better example of how an art school draws talented people to a region — and gives local audiences access to work they’d otherwise have to travel elsewhere to see. (This is Brackens’ first solo exhibition in the Bay Area.)\u003c/p>\n\u003cfigure id=\"attachment_13987917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000.jpg\" alt=\"gallery view with large hanging textiles\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-14_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Diedrick Brackens’ ‘gather tender night’ at Yerba Buena Center for the Arts. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Eungie Joo, who also organized YBCA’s comeback exhibition \u003ci>\u003ca href=\"https://www.kqed.org/arts/13979705/ybca-bay-area-then-1990s-rigo-23-margaret-kilgallen\">Bay Area Then\u003c/a>\u003c/i> last summer, \u003ci>gather tender night\u003c/i> is a balance of monumental, colorful panels and delicate, tender scenes. In Brackens’ textiles, silhouetted bodies blend into peaceful landscapes and populate fairytale scenarios (\u003ci>to soothe a myth\u003c/i> features a rearing unicorn). There is something elemental about these figures, which bend in half, raise their arms to the sky and gaze up, seemingly in awe of their surroundings. \u003c/p>\n\u003cp>Part of the dreaminess of Brackens’ work comes from his color choices. The oldest work in the show, dating back to 2020, is made with a scintillating combination of bright vermillion and turquoise. Then, a shift to yellows and muted purples; next, desaturated jewel tones; and finally, in his most recent pieces, mauve, oceanic greens and blues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After dying lengths of cotton fiber in his studio, the weaving process causes sections of color to shift and misregister slightly, blurring the edges of shapes. Brackens plays off that painterly effect by leaving tails of black yarn dangling, like drips, from his silhouettes. \u003c/p>\n\u003cp>The best part of seeing \u003ci>gather tender night\u003c/i> at YBCA — and all the space that venue allows — is that visitors get to walk around many of the works. Two pieces hang from handsome wooden racks that nod to Brackens’ floor looms. Others hang from the two walls of a framed-out domestic space, which includes an installation of a bed (covered with a woven textile, of course), an overturned basket and a pile of pungent yellow soap. \u003c/p>\n\u003cfigure id=\"attachment_13987916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000.jpg\" alt=\"black silhouette and gray silhouette bend around each other\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-45_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diedrick Brackens, ‘you’ll never get to heaven if you break my heart’ (detail), 2026; Woven cotton and acrylic yarn. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On an “interior” wall hangs Brackens’ sole work that places his figures indoors, one bending backward to kiss another. The pair’s arms bracket each other’s heads in arcs of mutual protection. \u003c/p>\n\u003cp>Even visitors with minimal knowledge of what it means to make a double weave textile can intuit the construction of Brackens’ works, thanks to these airy hanging arrangements. On the versos, color-inverted landscapes become devoid of figures, which Brackens embroiders onto a textile’s surface.\u003c/p>\n\u003cp>Some of the most poetic moments in \u003ci>gather tender night\u003c/i> come from the juxtaposition of front and back. On \u003ci>blood compass\u003c/i>, the show’s largest piece, two figures look up at a flock of geese, a lighthouse in the background. But on the other side of the textile, the geese, water and lighthouse are alone. A few glimpses of black thread signal the figures’ ghostly presence.\u003c/p>\n\u003cfigure id=\"attachment_13987915\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000.jpg\" alt=\"two textiles with plants and seated figures\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/DiedrickBrackens-27_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diedrick Brackens, ‘commitments’ and ‘help is available,’ 2025; both woven cotton and acrylic yarn. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other works, figures blend into foliage, appearing on a textile’s surface only in bits and pieces. \u003ci>commitments\u003c/i> and \u003ci>help is available\u003c/i>, both from 2025, show figures sitting cross-legged, arms raised above their heads. In the former, branches of angel’s trumpet occlude the heads and arms. In the latter, a bush of devil’s trumpet surrounds a torso and legs. Here, the repeated pose looks like a call for salvation.\u003c/p>\n\u003cp>Brackens’ dusky hues, especially in the more recent pieces, speak to night as a period of possibility, of slippery identity and greater freedom. But just as there is a flip side to each textile, so night gives way to day, and its potential for both visibility and accompanying violence. Brackens’ great skill is holding these realities together, embedding danger within softness, and giving his figures the freedom to stretch their arms, legs and eyes to a beautiful sherbet sky.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/diedrick-brackens-gather-tender-night/\">gather tender night\u003c/a>’ is on view at Yerba Buena Center for the Arts (701 Mission St., San Francisco) through Aug. 23, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-playhouse-flex-margot-hall-basketball",
"title": "Teenage Hoopers Face Off in ‘Flex,’ a New Play About Women’s Basketball",
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"content": "\u003cp>This week, the San Francisco Playhouse stage will be transformed into a \u003ca href=\"https://www.kqed.org/pop/tag/basketball\">basketball\u003c/a> court. And instead of acts, the drama will unfold in quarters for \u003ca href=\"https://sfplayhouse.org/2025-2026-season/flex/\">\u003cem>Flex\u003c/em>\u003c/a>, a new play about high school girls with hoop dreams. The action-packed production gets its West Coast premiere on March 26 and features a good amount of game play, but it’s really all about the aspirations and struggles that drive the girls to leave it all on the court.\u003c/p>\n\u003cp>Directed by Bay Area theater veteran \u003ca href=\"https://www.kqed.org/arts/tag/margo-hall\">Margo Hall\u003c/a>, \u003cem>Flex\u003c/em> takes place in Arkansas, the home state of playwright Candrice Jones. She began developing the play in the Berkeley Repertory Theatre’s Ground Floor program for experimental new works a decade ago.\u003c/p>\n\u003cp>Set in 1998, the action in \u003cem>Flex\u003c/em> unfolds just after the formation of the \u003ca href=\"https://www.kqed.org/news/tag/wnba\">WNBA\u003c/a>. “It’s about dreaming of being a champion,” \u003ca href=\"https://www.ktvu.com/video/1747379\">Hall told KTVU\u003c/a> in a recent interview. “It’s also an opportunity for these young girls to get out of Arkansas, to have a life beyond this rural life.”\u003c/p>\n\u003cfigure id=\"attachment_13987903\" class=\"wp-caption aligncenter\" style=\"max-width: 2450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10.jpg\" alt=\"\" width=\"2450\" height=\"1630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10.jpg 2450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-2000x1331.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-2048x1363.jpg 2048w\" sizes=\"auto, (max-width: 2450px) 100vw, 2450px\">\u003cfigcaption class=\"wp-caption-text\">Camille Collaço, Emma Gardner, Santeon Brown, Courtney Gabrielle Williams, and Paige Mayes are the Lady Train high school basketball team in San Francisco Playhouse’s ‘Flex,’ performing March 26–May 2.\u003c/figcaption>\u003c/figure>\n\u003cp>The play arrives in the Bay Area as all eyes are on women’s basketball. Last year, the WNBA had its most popular season to date, and the Bay’s own Golden State Valkyries exceeded expectations as the first expansion team to make it to the playoffs.\u003c/p>\n\u003cp>This week, the WNBA made history once again: After contentious negotiations, players signed a new \u003ca href=\"https://www.espn.com/wnba/story/_/id/48243808/wnba-cba-2026-collective-bargaining-agreement-news-line-salaries-schedule\">collective bargaining agreement\u003c/a>. It raises their minimum salary from $66,000 to $300,000, and gives players more opportunities to share in the wealth they’re generating for the league. Experts have called it a \u003ca href=\"https://www.cbssports.com/wnba/news/new-wnba-cba-massive-step-forward-womens-sports/\">massive step forward\u003c/a> for women athletes, who have spent decades fighting for access, recognition and fair compensation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The WNBA has come a long way from its beginnings in the late ’90s, when players were pressured to fit into a narrow definition of femininity, supposedly to make the league more marketable. \u003cem>Flex\u003c/em> also deals with the conflicting pressures of young womanhood, as the high school girls navigate teen pregnancy, queerness and tensions around religious upbringing. Throughout it all, it’s female friendship that comes in clutch at the final buzzer.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfplayhouse.org/2025-2026-season/flex/\">Flex\u003c/a>’ plays at the San Francisco Playhouse (450 Post St., San Francisco) March 26–May 2, 2026.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, the San Francisco Playhouse stage will be transformed into a \u003ca href=\"https://www.kqed.org/pop/tag/basketball\">basketball\u003c/a> court. And instead of acts, the drama will unfold in quarters for \u003ca href=\"https://sfplayhouse.org/2025-2026-season/flex/\">\u003cem>Flex\u003c/em>\u003c/a>, a new play about high school girls with hoop dreams. The action-packed production gets its West Coast premiere on March 26 and features a good amount of game play, but it’s really all about the aspirations and struggles that drive the girls to leave it all on the court.\u003c/p>\n\u003cp>Directed by Bay Area theater veteran \u003ca href=\"https://www.kqed.org/arts/tag/margo-hall\">Margo Hall\u003c/a>, \u003cem>Flex\u003c/em> takes place in Arkansas, the home state of playwright Candrice Jones. She began developing the play in the Berkeley Repertory Theatre’s Ground Floor program for experimental new works a decade ago.\u003c/p>\n\u003cp>Set in 1998, the action in \u003cem>Flex\u003c/em> unfolds just after the formation of the \u003ca href=\"https://www.kqed.org/news/tag/wnba\">WNBA\u003c/a>. “It’s about dreaming of being a champion,” \u003ca href=\"https://www.ktvu.com/video/1747379\">Hall told KTVU\u003c/a> in a recent interview. “It’s also an opportunity for these young girls to get out of Arkansas, to have a life beyond this rural life.”\u003c/p>\n\u003cfigure id=\"attachment_13987903\" class=\"wp-caption aligncenter\" style=\"max-width: 2450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10.jpg\" alt=\"\" width=\"2450\" height=\"1630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10.jpg 2450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-2000x1331.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-2048x1363.jpg 2048w\" sizes=\"auto, (max-width: 2450px) 100vw, 2450px\">\u003cfigcaption class=\"wp-caption-text\">Camille Collaço, Emma Gardner, Santeon Brown, Courtney Gabrielle Williams, and Paige Mayes are the Lady Train high school basketball team in San Francisco Playhouse’s ‘Flex,’ performing March 26–May 2.\u003c/figcaption>\u003c/figure>\n\u003cp>The play arrives in the Bay Area as all eyes are on women’s basketball. Last year, the WNBA had its most popular season to date, and the Bay’s own Golden State Valkyries exceeded expectations as the first expansion team to make it to the playoffs.\u003c/p>\n\u003cp>This week, the WNBA made history once again: After contentious negotiations, players signed a new \u003ca href=\"https://www.espn.com/wnba/story/_/id/48243808/wnba-cba-2026-collective-bargaining-agreement-news-line-salaries-schedule\">collective bargaining agreement\u003c/a>. It raises their minimum salary from $66,000 to $300,000, and gives players more opportunities to share in the wealth they’re generating for the league. Experts have called it a \u003ca href=\"https://www.cbssports.com/wnba/news/new-wnba-cba-massive-step-forward-womens-sports/\">massive step forward\u003c/a> for women athletes, who have spent decades fighting for access, recognition and fair compensation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The WNBA has come a long way from its beginnings in the late ’90s, when players were pressured to fit into a narrow definition of femininity, supposedly to make the league more marketable. \u003cem>Flex\u003c/em> also deals with the conflicting pressures of young womanhood, as the high school girls navigate teen pregnancy, queerness and tensions around religious upbringing. Throughout it all, it’s female friendship that comes in clutch at the final buzzer.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfplayhouse.org/2025-2026-season/flex/\">Flex\u003c/a>’ plays at the San Francisco Playhouse (450 Post St., San Francisco) March 26–May 2, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "masala-y-maiz-mexico-city-restaurant-oakland-bay-area-roots",
"title": "How One of Mexico City’s Most Acclaimed Restaurants Began in Oakland",
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"content": "\u003cp>[dropcap]W[/dropcap]hen you first enter Masala y Maiz — a Michelin-starred renegade of a restaurant in Mexico City that has been profiled on Netflix’s “Chef’s Table” — you wouldn’t necessarily know that Oakland is at the heart of its soulful appeal. The concrete, brutalist design of the space denotes an air of Mexican modernism that’s unlike anything you’d find in the Bay Area.\u003c/p>\n\u003cp>Yet according to chef and co-owner Saqib Keval, a Northern California–raised son of Ethiopian and Kenyan immigrants of Indian descent, Oakland is central to the restaurant’s ethos.\u003c/p>\n\u003cp>“The restaurant feels like an extension of Oakland at times, in terms of the music, politics, culture, vibe,” says Keval, who opened Masala y Maiz with his wife Norma Listman in 2017. “It feels like an embassy. Oakland is a place we miss.”\u003c/p>\n\u003cp>Bay Area activists may remember Keval as one of the co-founders of the \u003ca href=\"https://www.instagram.com/peopleskitchencollective/\">People’s Kitchen Collective\u003c/a> (PKC), among Oakland’s most prominent food justice organizations. Listman, meanwhile, was born and raised in Texcoco, Mexico, before she migrated to the Bay in the ’90s to work as a multidisciplinary artist and, eventually, a chef, cutting her teeth at esteemed Oakland restaurants like Tamarindo, Bay Wolf and Camino.\u003c/p>\n\u003cfigure id=\"attachment_13987860\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant.jpg\" alt=\"Two chefs in blue aprons pose in front a restaurant, underneath massive cement columns.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keval and Listman stand in front of the current iteration of Masala y Maiz in Mexico City’s historic centro, where the restaurant relocated in 2024. \u003ccite>(Ana Lorenzana, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have Oakland tattooed on my leg,” she says. “We hold a romantic idea of the Bay, of Oakland, when we lived there. I was in the Bay for 18 years. I was there during the dot-com boom in ’99. A lot of our communities left because it was impossible to keep going. The restaurants we worked at closed because it wasn’t sustainable. [But] my mentors are still there, and that’s where I came into food.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland’s grassroots influences, along with Listman’s leftist upbringing in Mexico and Keval’s anti-colonial literary acumen from his days at Humboldt State University, are unmistakably baked into Masala y Maiz’s philosophies of collectivism, equity and universal workers rights. A few times a year, the restaurant hosts an “Eat What You Want, Pay What You Can” day, inviting anyone — particularly locals combating the rising cost of living in \u003ca href=\"https://www.cntraveler.com/story/how-gentrification-continues-to-change-mexico-city\">a gentrified Mexico City\u003c/a> — to enjoy a Michelin-starred meal, even if all they can afford to pay for it with is \u003ca href=\"https://www.bbc.com/travel/article/20250825-pay-what-you-can-for-a-michelin-starred-meal\">a piece of original artwork\u003c/a>. The restaurant’s regular menus often feature large, bilingual phrases (“white supremacy is terrorism”; “que vive la lucha femenista”) based on current events.\u003c/p>\n\u003cfigure id=\"attachment_13987864\" class=\"wp-caption alignnone\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread.jpg\" alt=\"A spread of dishes on a black tabletop — included is a fried whole fish, head-on shrimp, and salad.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">An impressive spread of dishes at Masa y Maiz. \u003ccite>(Ana Lorenzana, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The messaging isn’t only for show. In 2018, the restaurant boldly \u003ca href=\"https://www.latimes.com/world/la-fg-mexico-city-restaurant-20180512-story.html\">challenged Mexico City’s government officials, citing corruption and bribery\u003c/a> — and somehow came out unscathed. Then, in 2021, the couple rejected a nomination from The World’s 50 Best Restaurants, calling out the foundation’s culture of exploitation and sexism. On Instagram, Masala y Maiz expressed gratitude for the recognition but didn’t yield, sharing a graphic of their invitation with a simple declaration overlaid above it: “\u003ca href=\"https://www.instagram.com/p/CVfYu1rL7oT/?utm_source=ig_embed&ig_rid=128bcd38-88bd-4ee8-a174-fd802ac4baae\">Gracias, no gracias\u003c/a>.”\u003c/p>\n\u003cp>The restaurant has also proven to be far more transcendentally savory than any political statement could ever be on its own. That is to say, the food at Masala y Maiz reflects Oakland’s famously eclectic flavors, too, in its borderless mezcla of dishes: an edible tapestry of Mexican, Indian and East African ingredients. The paratha quesadilla, which uses Indian flatbread in place of traditional corn tortillas, is gooed together with a blend of Oaxacan and mountain cheeses, and served with a side of salsa machaar and herb salad. For the uttapam gordita, a thick South Indian dosa is topped with shredded barbacoa, butternut squash, asparagus and housemade salsa verde. And the esquites makai pakka is a Kenyan remix of Mexico’s beloved street corn dish — a stir of corn kernels, coconut milk, East African masala, in-house mayo and crumbled cotija cheese.\u003c/p>\n\u003cfigure id=\"attachment_13987857\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri.jpg\" alt='Jars of spices labeled with blue tape, including dried guajillo chiles, gunpowder pudi, \"Black Power cardamom,\" methi, and maiz morado.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Masala y Maiz is a reflection of the commonalities that can be found across different parts the Global South. Here, a medley of Indian and East African spices sit beside Mexican ingredients like corn and guajillo peppers. \u003ccite>(Sana Javeri Kadri, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Oakland’s past is reuniting with the restaurant’s present. This month, the duo is hosting a series of guest chefs from all over the map in honor of International Women’s Month. The series concludes on March 25 with a collaborative dinner featuring the Bay Area’s own Reem Assil and Nite Yun, who both got their starts cooking in Oakland. Yun is the Cambodian American chef behind \u003ca href=\"https://www.instagram.com/lunette_cambodia/?hl=en\">Lunette\u003c/a>, a Khmer gem inside San Francisco’s Ferry Building; Assil is the Palestinian-Syrian culinary icon of \u003ca href=\"https://www.instagram.com/reemscalifornia/?hl=en\">Reem’s California\u003c/a> fame. The Bay Area chefs will join Listman and Keval to create a one-night-only menu centered on their Cambodian, Palestinian, Indian and Mexican backgrounds.\u003c/p>\n\u003cp>But how, exactly, did this internationally renowned hot spot make it all the way down from the East Bay’s shores to the pedestrian-flooded Centro Historico of Mexico’s trending capital to begin with? As it turns out, it all originated as an Oakland love story.\u003c/p>\n\u003ch2>\u003cb>‘Ghetto Gourmet’ and PKC — that’s Oakland, baby\u003c/b>\u003c/h2>\n\u003cp>Before landing in the Bay, Listman had already established herself in the Mexico City art scene. When she came to Oakland in the ’90s, she quickly felt aligned with the city’s unsugared realness, laissez-faire freedoms and artistic energy.\u003c/p>\n\u003cp>“The art scene in Mexico City was very avant garde, very international; it was exhilarating. I felt the same way about Oakland,” she says. “I fell in love with the Bay because of that similarity.”\u003c/p>\n\u003cfigure id=\"attachment_13987856\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview.jpg\" alt=\"In a backyard garden setting, a woman holds out a glass while a bottle wine is poured.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">During her time in the Bay Area, Listman brought her expertise and insights as a Mexican-born artist and foodmaker, helping to introduce mezcal to the region when it was relatively unknown. Alice Waters (right), the founder of Berkeley’s Chez Panisse, attended one of her many events. \u003ccite>(Courtesy of Norma Listman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Oakland of then was far from the Oakland it would later become. In the mid-to-late aughts, Listman was among the first in the Town to purvey artisanal mezcals, when the libation was more mystery than mainstream. She was invested in fashion, design and art. In 2007, she began working front of house in various Oakland restaurants, eventually finding her way into the kitchen. She independently experimented with food as “a medium to tell a larger story” with a project she titled The Salon Dinners. Listman recalls those times fondly, before tech billionaires and real estate conglomerates completely uprooted artists and storytellers in the region, leaving a profit-driven void in their wake.\u003c/p>\n\u003cp>“In Oakland, there was something called ‘Ghetto Gourmet,’” she says, describing an underground community of Oakland home chefs at the time, not to be confused with the \u003ca href=\"https://www.kqed.org/news/11777049/why-berkeleys-gourmet-ghetto-is-a-problem-for-some\">Berkeley neighborhood nickname\u003c/a>. “People turned their houses into restaurants and began cooking their own food, and it was a really cool time in the Bay to have those experiences and to be experimental. I started doing some of that,” she says. “Where I grew up in Mexico, it’s common that some homes and garages and family dining rooms become restaurants to serve pozole or some other dish that the family matriarch does well. [My dinners] felt like a blend of that, in terms of food, but it was shot down by the health department. It lasted about a year and a half, and it was so cool.”\u003c/p>\n\u003cp>For Listman, these kinds of secretive, word-of-mouth happenings gave Oakland a certain magic in that era: “Everything felt more hidden. Back in the day, nothing was exposed, but if you knocked on a door, it would open, and then another door would appear behind that, and you’d find another world inside.”\u003c/p>\n\u003cfigure id=\"attachment_13987852\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987852\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders.jpg\" alt=\"Three smiling people posing for a portrait in front of some kitchen cabinets\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left: Keval, Sita Kuratomi Bhaumik and Jocelyn Jackson. The trio co-founded the People’s Kitchen Collective in 2007. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During that same span, \u003ca href=\"https://edibleeastbay.com/2013/08/15/it-takes-a-grandmother/\">Keval was steadily building up PKC\u003c/a>, a political food program he co-founded in 2007, along with \u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\">Jocelyn Jackson\u003c/a> and Sita Kuratomi Bhaumik, in West Oakland. Keval’s evolving vision for the group was inspired by his involvement in Bay Area restaurants and food nonprofits like Restaurant Opportunities Center of the Bay Area and West Oakland’s People’s Grocery, where he helped start the \u003ca href=\"https://growingjusticeinstitute.wordpress.com/about/\">Growing Justice Institute\u003c/a>, an urban agriculture project.\u003c/p>\n\u003cp>During Keval’s time at PKC, the group held large-scale public meals at Lil Bobby Hutton Park and at urban farms. Keval developed connections with Black Panther Party elders and collaborated with the likes of \u003ca href=\"https://www.kqed.org/arts/13986932/emory-douglas-black-panthers-interview-aaacc-san-francisco\">Emory Douglas\u003c/a>, who created the fliers for the Panthers’ Free Breakfast Program. “It was formative for me as an activist to understand the Black and Brown and South Asian history in the Bay. That was vital,” Keval says of those years.\u003c/p>\n\u003cp>Soon, his path would serendipitously intertwine with Listman’s.\u003c/p>\n\u003cfigure id=\"attachment_13987854\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987854\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc.jpg\" alt=\"A South Asian man holds a microphone as he addresses a gathering. His apron reads, "The People's Kitchen, OAKLAND."\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-1536x1026.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In the late aughts, Keval rallied communities in Oakland and beyond around issues of food justice. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>The road to Mexico City goes through Old Oakland\u003c/b>\u003c/h2>\n\u003cp>Maybe no neighborhood in Oakland has retained as much of the clandestine enchantment that Listman recalls from the aughts as Old Oakland. In particular, the historic downtown neighborhood — crammed into a quaint, relatively sleepy four-block nook bordered by Highway 880, Broadway and West Oakland — has long been an overlooked bastion of delicious eats.\u003c/p>\n\u003cp>In prior years, you’d find beloved gems like \u003ca href=\"https://www.kqed.org/arts/13910410/miss-ollies-oakland-closing\">Miss Ollie’s\u003c/a>, the Afro-Caribbean staple with out-the-door lines, where Keval once worked. Today, the neighborhood is home to chef Anthony Salguero’s Popoca, a Salvadoran American powerhouse slanging woodfired pupusas, and \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’chaka\u003c/a>, Oakland’s first and only Haitian joint (which, poetically, exists in the former Miss Ollie’s space). But arguably no other restaurant in Old Oakland has left more of an imprint than Cosecha. Until it shuttered in 2021, the Mexican eatery inside of Swan Market was one of the most influential restaurants in the Bay Area’s culinary landscape.\u003c/p>\n\u003cp>Coincidentally, Cosecha is also where Listman and Keval first met, around 2013. At that time, Listman was working with the restaurant to host mezcal tastings and community art events; Keval and PKC used Cosecha as a space to provide meals and build a shared foundation.\u003c/p>\n\u003cfigure id=\"attachment_13987858\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha.jpg\" alt=\"Crowded communal tables inside a food hall.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Old Oakland’s now-shuttered Cosecha was an instrumental space for Keval and Listman, who used it as a venue to build community and inspire change. For a time, the restaurant hosted many of the People’s Kitchen Collective’s pay-what-you-can meals. \u003ccite>(Courtesy of Saqib Keval/People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In terms of how they started dating? Listman tells it straight: “We never really engaged that much. We were busy in our own worlds.” That changed when the Museum of the African Diaspora in San Francisco began a new residency program and recruited both Listman and PKC to collaborate. Listman smiles: “We worked together on that event, and since then we’ve never stopped working together.”\u003c/p>\n\u003cp>Dominica Rice-Cisneros, Cosecha’s Mexican American chef-owner who currently runs Bombera in the Dimond District, knew the couple long before they were star chefs. Since hosting them in her own restaurant, Rice-Cisneros has gone on to eat at every version of Masala y Maiz (the restaurant has had different locations in Mexico City over the years).\u003c/p>\n\u003cp>“I consider Masala y Maiz to be a Bay Area restaurant, even though they’re in Mexico City. They are an Oakland restaurant, to be exact. True Oakland,” says Rice-Cisneros. “It’s definitely international and could do well everywhere, but first and foremost, it’s Oakland.”\u003c/p>\n\u003cfigure id=\"attachment_13987859\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987859\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25.jpg\" alt=\"A man in a blue apron looking down in front of a restaurant kitchen, where a woman is prepping food.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keval drew inspiration from Bay Area restaurants like Cosecha, where he is pictured in this photo during his People’s Kitchen Collective years. Behind him, Cosecha chef Dominica Rice-Cisneros prepares a dish. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, Rice-Cisneros will be flying out to attend the International Women’s Month dinner that Listman is hosting along with Assil and Yun. It doesn’t get more Bay Area — in Mexico City — than that.\u003c/p>\n\u003cp>While Rice-Cisneros doesn’t take any credit for uniting Listman and Keval, the couple is quick to point out Cosecha’s importance in their lives. “Masala y Maiz exists because of Dominica. We exist [as a couple] because of PKC,” Keval says.\u003c/p>\n\u003cp>In 2017, Listman moved back to Mexico to research corn foodways. Unexpectedly, she was offered an on-the-spot chance to take over a dining space in the San Miguel Chapultepec neighborhood of Mexico City. She took the risk and invited Keval to join her. The result was Masala y Maiz: a combination of their families’ migratory lineages told through recipes. In that way, the restaurant is an expression of all of the parallels that Listman and Keval have found between the cuisines and cultures across Mexico, India, Kenya and the Global South at large.\u003c/p>\n\u003cfigure id=\"attachment_13987855\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib.jpg\" alt=\"A man and a woman, both in sunglasses, sit close together while the woman takes a selfie of the two of them with her phone.\" width=\"2000\" height=\"1337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In 2017, Listman and Keval left the Bay Area, where they had met and began dating, with the shared vision of changing the restaurant industry together. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The restaurant’s stature has only grown over the years as it moved into larger spaces and solidified itself as a culinary destination and activist force in Mexico City. But even as the couple was building out their restaurant, the Bay Area was always close to their hearts — and the Bay hadn’t forgotten about them, either. Listman notes that her former mentor, the legendary Slanted Door chef Charles Phan (who \u003ca href=\"https://www.kqed.org/arts/13970535/charles-phan-the-innovative-chef-of-sfs-slanted-door-has-died\">passed away last year\u003c/a>), supplied Masala y Maiz with its inaugural set of silverware. Eight years later, it’s still the crown jewel of the restaurant’s collection.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">\u003cspan style=\"color: #2b2b2b; font-weight: 400;\">[aside postID='arts_13960139,arts_13932089,arts_13912706']\u003c/span>\u003c/span>For Listman, the Bay resonates in their work — but it’s not the only factor. “The Bay Area is a very revolutionary place with incredible political movements,” she says. “But it’s not the only thing. A lot of the movements in Mexico and in different communities inform what we do.”\u003c/p>\n\u003cp>Keval is even more effusive in his praise of the Bay. “The thing about the restaurants in the Bay we worked at was that they showed us the possibilities of what a restaurant can be, and the authenticity of each person expressing who they are in their own way,” he says. “We learned what it means to do right by your employees and your team. We worked with chefs who cared, who worked alongside everyone else. That helped me form this idea of what a restaurant could be and how to critique patriarchy, capitalism and so forth. Oakland gave me space to try that out and tweak it and work on service and hospitality from a different point of view, one that was community-based and centered on dignity.”\u003c/p>\n\u003cfigure id=\"attachment_13987861\" class=\"wp-caption alignnone\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987861\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri.jpg\" alt=\"Two pairs of hands pressing down on banana leaves in a large pot.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">At Masala y Maiz, Listman and Keval combine culinary traditions from their respective backgrounds. \u003ccite>(Sana Javeri Kadri, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a fine dining industry where headlines about \u003ca href=\"https://www.nytimes.com/2026/03/07/dining/rene-redzepi-noma-abuse-allegations.html\">institutions abusing their workers\u003c/a> are not uncommon, and in which high-end establishments have a reputation of being financially inaccessible to the working class, Masala y Maiz’s egalitarian for-the-people, by-the-people mantras are far from the norm. But they’re deeply rooted in the Bay’s insurgent ecosystem, where Listman and Keval were shaped and influenced for years while also carving out space for themselves, long before Masala y Maiz’s opened its proverbial doors to would-be diners.\u003c/p>\n\u003cp>As Keval puts it, “That’s who we are, and that’s a direct line to the Bay. That won’t ever stop being home.”\u003c/p>\n\u003cp>After all, is there anything more truly Oakland than feeding revolutions, building cross-communal solidarity, and inviting everyone to share in discourse amid today’s hetero-capitalist dystopia — all while eating some of the best meals of your life?\u003c/p>\n\u003cp>\u003cem>Correction: An earlier version of this article credited chef Anthony Strong with providing Masala y Maiz’s first set of silverware. Strong was also a mentor to Listman, but Charles Phan of Slanted Door was the one who gifted them the silverware.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/masalaymaiz/\">\u003ci>Masala y Maiz\u003c/i>\u003c/a>\u003ci> (116 C. Artículo 123, Edificio Humboldt, Mexico City) is open every day from noon to 6 p.m., except on Tuesdays. On Wednesday, March 25 at 7:30 p.m., the restaurant will host its final International Women’s Month series dinner with chefs Reem Assil and Nite Yun. The communal meal will include a six-course collaborative tasting, with a welcome drink and tip included for $2,200 MXN, or roughly $115 USD, per person. \u003c/i>\u003ca href=\"https://www.exploretock.com/masala-y-maiz-mexico-city/event/595460\">\u003ci>Tickets here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"title": "One of Mexico City’s Best Restaurants Began in Oakland | KQED",
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"headline": "How One of Mexico City’s Most Acclaimed Restaurants Began in Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen you first enter Masala y Maiz — a Michelin-starred renegade of a restaurant in Mexico City that has been profiled on Netflix’s “Chef’s Table” — you wouldn’t necessarily know that Oakland is at the heart of its soulful appeal. The concrete, brutalist design of the space denotes an air of Mexican modernism that’s unlike anything you’d find in the Bay Area.\u003c/p>\n\u003cp>Yet according to chef and co-owner Saqib Keval, a Northern California–raised son of Ethiopian and Kenyan immigrants of Indian descent, Oakland is central to the restaurant’s ethos.\u003c/p>\n\u003cp>“The restaurant feels like an extension of Oakland at times, in terms of the music, politics, culture, vibe,” says Keval, who opened Masala y Maiz with his wife Norma Listman in 2017. “It feels like an embassy. Oakland is a place we miss.”\u003c/p>\n\u003cp>Bay Area activists may remember Keval as one of the co-founders of the \u003ca href=\"https://www.instagram.com/peopleskitchencollective/\">People’s Kitchen Collective\u003c/a> (PKC), among Oakland’s most prominent food justice organizations. Listman, meanwhile, was born and raised in Texcoco, Mexico, before she migrated to the Bay in the ’90s to work as a multidisciplinary artist and, eventually, a chef, cutting her teeth at esteemed Oakland restaurants like Tamarindo, Bay Wolf and Camino.\u003c/p>\n\u003cfigure id=\"attachment_13987860\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant.jpg\" alt=\"Two chefs in blue aprons pose in front a restaurant, underneath massive cement columns.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_OutsideRestaurant-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keval and Listman stand in front of the current iteration of Masala y Maiz in Mexico City’s historic centro, where the restaurant relocated in 2024. \u003ccite>(Ana Lorenzana, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have Oakland tattooed on my leg,” she says. “We hold a romantic idea of the Bay, of Oakland, when we lived there. I was in the Bay for 18 years. I was there during the dot-com boom in ’99. A lot of our communities left because it was impossible to keep going. The restaurants we worked at closed because it wasn’t sustainable. [But] my mentors are still there, and that’s where I came into food.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland’s grassroots influences, along with Listman’s leftist upbringing in Mexico and Keval’s anti-colonial literary acumen from his days at Humboldt State University, are unmistakably baked into Masala y Maiz’s philosophies of collectivism, equity and universal workers rights. A few times a year, the restaurant hosts an “Eat What You Want, Pay What You Can” day, inviting anyone — particularly locals combating the rising cost of living in \u003ca href=\"https://www.cntraveler.com/story/how-gentrification-continues-to-change-mexico-city\">a gentrified Mexico City\u003c/a> — to enjoy a Michelin-starred meal, even if all they can afford to pay for it with is \u003ca href=\"https://www.bbc.com/travel/article/20250825-pay-what-you-can-for-a-michelin-starred-meal\">a piece of original artwork\u003c/a>. The restaurant’s regular menus often feature large, bilingual phrases (“white supremacy is terrorism”; “que vive la lucha femenista”) based on current events.\u003c/p>\n\u003cfigure id=\"attachment_13987864\" class=\"wp-caption alignnone\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread.jpg\" alt=\"A spread of dishes on a black tabletop — included is a fried whole fish, head-on shrimp, and salad.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Credit_Ana-Lorenzana_TableSpread-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">An impressive spread of dishes at Masa y Maiz. \u003ccite>(Ana Lorenzana, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The messaging isn’t only for show. In 2018, the restaurant boldly \u003ca href=\"https://www.latimes.com/world/la-fg-mexico-city-restaurant-20180512-story.html\">challenged Mexico City’s government officials, citing corruption and bribery\u003c/a> — and somehow came out unscathed. Then, in 2021, the couple rejected a nomination from The World’s 50 Best Restaurants, calling out the foundation’s culture of exploitation and sexism. On Instagram, Masala y Maiz expressed gratitude for the recognition but didn’t yield, sharing a graphic of their invitation with a simple declaration overlaid above it: “\u003ca href=\"https://www.instagram.com/p/CVfYu1rL7oT/?utm_source=ig_embed&ig_rid=128bcd38-88bd-4ee8-a174-fd802ac4baae\">Gracias, no gracias\u003c/a>.”\u003c/p>\n\u003cp>The restaurant has also proven to be far more transcendentally savory than any political statement could ever be on its own. That is to say, the food at Masala y Maiz reflects Oakland’s famously eclectic flavors, too, in its borderless mezcla of dishes: an edible tapestry of Mexican, Indian and East African ingredients. The paratha quesadilla, which uses Indian flatbread in place of traditional corn tortillas, is gooed together with a blend of Oaxacan and mountain cheeses, and served with a side of salsa machaar and herb salad. For the uttapam gordita, a thick South Indian dosa is topped with shredded barbacoa, butternut squash, asparagus and housemade salsa verde. And the esquites makai pakka is a Kenyan remix of Mexico’s beloved street corn dish — a stir of corn kernels, coconut milk, East African masala, in-house mayo and crumbled cotija cheese.\u003c/p>\n\u003cfigure id=\"attachment_13987857\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri.jpg\" alt='Jars of spices labeled with blue tape, including dried guajillo chiles, gunpowder pudi, \"Black Power cardamom,\" methi, and maiz morado.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/36_PhotoCredit-Sana-Javeri-Kadri-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Masala y Maiz is a reflection of the commonalities that can be found across different parts the Global South. Here, a medley of Indian and East African spices sit beside Mexican ingredients like corn and guajillo peppers. \u003ccite>(Sana Javeri Kadri, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Oakland’s past is reuniting with the restaurant’s present. This month, the duo is hosting a series of guest chefs from all over the map in honor of International Women’s Month. The series concludes on March 25 with a collaborative dinner featuring the Bay Area’s own Reem Assil and Nite Yun, who both got their starts cooking in Oakland. Yun is the Cambodian American chef behind \u003ca href=\"https://www.instagram.com/lunette_cambodia/?hl=en\">Lunette\u003c/a>, a Khmer gem inside San Francisco’s Ferry Building; Assil is the Palestinian-Syrian culinary icon of \u003ca href=\"https://www.instagram.com/reemscalifornia/?hl=en\">Reem’s California\u003c/a> fame. The Bay Area chefs will join Listman and Keval to create a one-night-only menu centered on their Cambodian, Palestinian, Indian and Mexican backgrounds.\u003c/p>\n\u003cp>But how, exactly, did this internationally renowned hot spot make it all the way down from the East Bay’s shores to the pedestrian-flooded Centro Historico of Mexico’s trending capital to begin with? As it turns out, it all originated as an Oakland love story.\u003c/p>\n\u003ch2>\u003cb>‘Ghetto Gourmet’ and PKC — that’s Oakland, baby\u003c/b>\u003c/h2>\n\u003cp>Before landing in the Bay, Listman had already established herself in the Mexico City art scene. When she came to Oakland in the ’90s, she quickly felt aligned with the city’s unsugared realness, laissez-faire freedoms and artistic energy.\u003c/p>\n\u003cp>“The art scene in Mexico City was very avant garde, very international; it was exhilarating. I felt the same way about Oakland,” she says. “I fell in love with the Bay because of that similarity.”\u003c/p>\n\u003cfigure id=\"attachment_13987856\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview.jpg\" alt=\"In a backyard garden setting, a woman holds out a glass while a bottle wine is poured.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/MX14-700-preview-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">During her time in the Bay Area, Listman brought her expertise and insights as a Mexican-born artist and foodmaker, helping to introduce mezcal to the region when it was relatively unknown. Alice Waters (right), the founder of Berkeley’s Chez Panisse, attended one of her many events. \u003ccite>(Courtesy of Norma Listman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Oakland of then was far from the Oakland it would later become. In the mid-to-late aughts, Listman was among the first in the Town to purvey artisanal mezcals, when the libation was more mystery than mainstream. She was invested in fashion, design and art. In 2007, she began working front of house in various Oakland restaurants, eventually finding her way into the kitchen. She independently experimented with food as “a medium to tell a larger story” with a project she titled The Salon Dinners. Listman recalls those times fondly, before tech billionaires and real estate conglomerates completely uprooted artists and storytellers in the region, leaving a profit-driven void in their wake.\u003c/p>\n\u003cp>“In Oakland, there was something called ‘Ghetto Gourmet,’” she says, describing an underground community of Oakland home chefs at the time, not to be confused with the \u003ca href=\"https://www.kqed.org/news/11777049/why-berkeleys-gourmet-ghetto-is-a-problem-for-some\">Berkeley neighborhood nickname\u003c/a>. “People turned their houses into restaurants and began cooking their own food, and it was a really cool time in the Bay to have those experiences and to be experimental. I started doing some of that,” she says. “Where I grew up in Mexico, it’s common that some homes and garages and family dining rooms become restaurants to serve pozole or some other dish that the family matriarch does well. [My dinners] felt like a blend of that, in terms of food, but it was shot down by the health department. It lasted about a year and a half, and it was so cool.”\u003c/p>\n\u003cp>For Listman, these kinds of secretive, word-of-mouth happenings gave Oakland a certain magic in that era: “Everything felt more hidden. Back in the day, nothing was exposed, but if you knocked on a door, it would open, and then another door would appear behind that, and you’d find another world inside.”\u003c/p>\n\u003cfigure id=\"attachment_13987852\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987852\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders.jpg\" alt=\"Three smiling people posing for a portrait in front of some kitchen cabinets\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-founders-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left: Keval, Sita Kuratomi Bhaumik and Jocelyn Jackson. The trio co-founded the People’s Kitchen Collective in 2007. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During that same span, \u003ca href=\"https://edibleeastbay.com/2013/08/15/it-takes-a-grandmother/\">Keval was steadily building up PKC\u003c/a>, a political food program he co-founded in 2007, along with \u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\">Jocelyn Jackson\u003c/a> and Sita Kuratomi Bhaumik, in West Oakland. Keval’s evolving vision for the group was inspired by his involvement in Bay Area restaurants and food nonprofits like Restaurant Opportunities Center of the Bay Area and West Oakland’s People’s Grocery, where he helped start the \u003ca href=\"https://growingjusticeinstitute.wordpress.com/about/\">Growing Justice Institute\u003c/a>, an urban agriculture project.\u003c/p>\n\u003cp>During Keval’s time at PKC, the group held large-scale public meals at Lil Bobby Hutton Park and at urban farms. Keval developed connections with Black Panther Party elders and collaborated with the likes of \u003ca href=\"https://www.kqed.org/arts/13986932/emory-douglas-black-panthers-interview-aaacc-san-francisco\">Emory Douglas\u003c/a>, who created the fliers for the Panthers’ Free Breakfast Program. “It was formative for me as an activist to understand the Black and Brown and South Asian history in the Bay. That was vital,” Keval says of those years.\u003c/p>\n\u003cp>Soon, his path would serendipitously intertwine with Listman’s.\u003c/p>\n\u003cfigure id=\"attachment_13987854\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987854\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc.jpg\" alt=\"A South Asian man holds a microphone as he addresses a gathering. His apron reads, "The People's Kitchen, OAKLAND."\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/kaval-pkc-1536x1026.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In the late aughts, Keval rallied communities in Oakland and beyond around issues of food justice. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>The road to Mexico City goes through Old Oakland\u003c/b>\u003c/h2>\n\u003cp>Maybe no neighborhood in Oakland has retained as much of the clandestine enchantment that Listman recalls from the aughts as Old Oakland. In particular, the historic downtown neighborhood — crammed into a quaint, relatively sleepy four-block nook bordered by Highway 880, Broadway and West Oakland — has long been an overlooked bastion of delicious eats.\u003c/p>\n\u003cp>In prior years, you’d find beloved gems like \u003ca href=\"https://www.kqed.org/arts/13910410/miss-ollies-oakland-closing\">Miss Ollie’s\u003c/a>, the Afro-Caribbean staple with out-the-door lines, where Keval once worked. Today, the neighborhood is home to chef Anthony Salguero’s Popoca, a Salvadoran American powerhouse slanging woodfired pupusas, and \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’chaka\u003c/a>, Oakland’s first and only Haitian joint (which, poetically, exists in the former Miss Ollie’s space). But arguably no other restaurant in Old Oakland has left more of an imprint than Cosecha. Until it shuttered in 2021, the Mexican eatery inside of Swan Market was one of the most influential restaurants in the Bay Area’s culinary landscape.\u003c/p>\n\u003cp>Coincidentally, Cosecha is also where Listman and Keval first met, around 2013. At that time, Listman was working with the restaurant to host mezcal tastings and community art events; Keval and PKC used Cosecha as a space to provide meals and build a shared foundation.\u003c/p>\n\u003cfigure id=\"attachment_13987858\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha.jpg\" alt=\"Crowded communal tables inside a food hall.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pkc-at-cosecha-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Old Oakland’s now-shuttered Cosecha was an instrumental space for Keval and Listman, who used it as a venue to build community and inspire change. For a time, the restaurant hosted many of the People’s Kitchen Collective’s pay-what-you-can meals. \u003ccite>(Courtesy of Saqib Keval/People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In terms of how they started dating? Listman tells it straight: “We never really engaged that much. We were busy in our own worlds.” That changed when the Museum of the African Diaspora in San Francisco began a new residency program and recruited both Listman and PKC to collaborate. Listman smiles: “We worked together on that event, and since then we’ve never stopped working together.”\u003c/p>\n\u003cp>Dominica Rice-Cisneros, Cosecha’s Mexican American chef-owner who currently runs Bombera in the Dimond District, knew the couple long before they were star chefs. Since hosting them in her own restaurant, Rice-Cisneros has gone on to eat at every version of Masala y Maiz (the restaurant has had different locations in Mexico City over the years).\u003c/p>\n\u003cp>“I consider Masala y Maiz to be a Bay Area restaurant, even though they’re in Mexico City. They are an Oakland restaurant, to be exact. True Oakland,” says Rice-Cisneros. “It’s definitely international and could do well everywhere, but first and foremost, it’s Oakland.”\u003c/p>\n\u003cfigure id=\"attachment_13987859\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987859\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25.jpg\" alt=\"A man in a blue apron looking down in front of a restaurant kitchen, where a woman is prepping food.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/PKC25-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keval drew inspiration from Bay Area restaurants like Cosecha, where he is pictured in this photo during his People’s Kitchen Collective years. Behind him, Cosecha chef Dominica Rice-Cisneros prepares a dish. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, Rice-Cisneros will be flying out to attend the International Women’s Month dinner that Listman is hosting along with Assil and Yun. It doesn’t get more Bay Area — in Mexico City — than that.\u003c/p>\n\u003cp>While Rice-Cisneros doesn’t take any credit for uniting Listman and Keval, the couple is quick to point out Cosecha’s importance in their lives. “Masala y Maiz exists because of Dominica. We exist [as a couple] because of PKC,” Keval says.\u003c/p>\n\u003cp>In 2017, Listman moved back to Mexico to research corn foodways. Unexpectedly, she was offered an on-the-spot chance to take over a dining space in the San Miguel Chapultepec neighborhood of Mexico City. She took the risk and invited Keval to join her. The result was Masala y Maiz: a combination of their families’ migratory lineages told through recipes. In that way, the restaurant is an expression of all of the parallels that Listman and Keval have found between the cuisines and cultures across Mexico, India, Kenya and the Global South at large.\u003c/p>\n\u003cfigure id=\"attachment_13987855\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib.jpg\" alt=\"A man and a woman, both in sunglasses, sit close together while the woman takes a selfie of the two of them with her phone.\" width=\"2000\" height=\"1337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/norma-and-saqib-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In 2017, Listman and Keval left the Bay Area, where they had met and began dating, with the shared vision of changing the restaurant industry together. \u003ccite>(Courtesy of Saqib Keval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The restaurant’s stature has only grown over the years as it moved into larger spaces and solidified itself as a culinary destination and activist force in Mexico City. But even as the couple was building out their restaurant, the Bay Area was always close to their hearts — and the Bay hadn’t forgotten about them, either. Listman notes that her former mentor, the legendary Slanted Door chef Charles Phan (who \u003ca href=\"https://www.kqed.org/arts/13970535/charles-phan-the-innovative-chef-of-sfs-slanted-door-has-died\">passed away last year\u003c/a>), supplied Masala y Maiz with its inaugural set of silverware. Eight years later, it’s still the crown jewel of the restaurant’s collection.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">\u003cspan style=\"color: #2b2b2b; font-weight: 400;\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>For Listman, the Bay resonates in their work — but it’s not the only factor. “The Bay Area is a very revolutionary place with incredible political movements,” she says. “But it’s not the only thing. A lot of the movements in Mexico and in different communities inform what we do.”\u003c/p>\n\u003cp>Keval is even more effusive in his praise of the Bay. “The thing about the restaurants in the Bay we worked at was that they showed us the possibilities of what a restaurant can be, and the authenticity of each person expressing who they are in their own way,” he says. “We learned what it means to do right by your employees and your team. We worked with chefs who cared, who worked alongside everyone else. That helped me form this idea of what a restaurant could be and how to critique patriarchy, capitalism and so forth. Oakland gave me space to try that out and tweak it and work on service and hospitality from a different point of view, one that was community-based and centered on dignity.”\u003c/p>\n\u003cfigure id=\"attachment_13987861\" class=\"wp-caption alignnone\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987861\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri.jpg\" alt=\"Two pairs of hands pressing down on banana leaves in a large pot.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/9_PhotoCredit-Sana-Javeri-Kadri-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">At Masala y Maiz, Listman and Keval combine culinary traditions from their respective backgrounds. \u003ccite>(Sana Javeri Kadri, courtesy of Masala y Maiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a fine dining industry where headlines about \u003ca href=\"https://www.nytimes.com/2026/03/07/dining/rene-redzepi-noma-abuse-allegations.html\">institutions abusing their workers\u003c/a> are not uncommon, and in which high-end establishments have a reputation of being financially inaccessible to the working class, Masala y Maiz’s egalitarian for-the-people, by-the-people mantras are far from the norm. But they’re deeply rooted in the Bay’s insurgent ecosystem, where Listman and Keval were shaped and influenced for years while also carving out space for themselves, long before Masala y Maiz’s opened its proverbial doors to would-be diners.\u003c/p>\n\u003cp>As Keval puts it, “That’s who we are, and that’s a direct line to the Bay. That won’t ever stop being home.”\u003c/p>\n\u003cp>After all, is there anything more truly Oakland than feeding revolutions, building cross-communal solidarity, and inviting everyone to share in discourse amid today’s hetero-capitalist dystopia — all while eating some of the best meals of your life?\u003c/p>\n\u003cp>\u003cem>Correction: An earlier version of this article credited chef Anthony Strong with providing Masala y Maiz’s first set of silverware. Strong was also a mentor to Listman, but Charles Phan of Slanted Door was the one who gifted them the silverware.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/masalaymaiz/\">\u003ci>Masala y Maiz\u003c/i>\u003c/a>\u003ci> (116 C. Artículo 123, Edificio Humboldt, Mexico City) is open every day from noon to 6 p.m., except on Tuesdays. On Wednesday, March 25 at 7:30 p.m., the restaurant will host its final International Women’s Month series dinner with chefs Reem Assil and Nite Yun. The communal meal will include a six-course collaborative tasting, with a welcome drink and tip included for $2,200 MXN, or roughly $115 USD, per person. \u003c/i>\u003ca href=\"https://www.exploretock.com/masala-y-maiz-mexico-city/event/595460\">\u003ci>Tickets here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago, I wrote an opinion piece for my college paper titled “Friends Aren’t Forever and That’s Okay.” Reflecting on the fleeting nature of high school friendships, I realized that even though those friendships didn’t last, they meant a great deal, and shaped me in ways I couldn’t fully understand at the time.\u003c/p>\n\u003cp>I’ve graduated college now, but couldn’t help but think of these friendships while watching \u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em>, a new play by Eisa Davis at \u003ca href=\"https://www.kqed.org/arts/tag/act\">ACT\u003c/a>’s Strand Theater in San Francisco. Davis, raised in the Bay Area and inspired by her time in UC Berkeley’s Young Musicians Program, clearly understands the bonds of girlhood. Directed by outgoing ACT Artistic Director Pam MacKinnon, the play captures the essence of being a teenage girl amongst other teenage girls: a combination of ego and uncertainty, with small moments feeling magnified and personal. \u003c/p>\n\u003cp>In \u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em>, we’re introduced to four high school girls at a prestigious summer music program in Berkeley who’ve been assigned to rehearse and perform together as a group. Aside from their love for music, they seem to have nothing in common.\u003c/p>\n\u003cfigure id=\"attachment_13987819\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hillary Fisher (Fax) and Naomi Latta (Margot) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fax (Hillary Fisher), the group’s vocalist, is anxious, hyper-prepared and constantly overthinking, a perfectionist prone to rambling. In contrast, Margot (Naomi Latta), the group’s drummer, is laid-back and carefree. She proclaims that “words are so not [her] vibe,” yet her playing reveals an intensity beneath the surface.\u003c/p>\n\u003cp>Riles (Yeena Sung), the pianist, is vibrant and unapologetically expressive, with multicolored hair, a wardrobe filled with fun prints and Labubus hanging from their backpack. Then there’s the more reticent Clementine (Gianna DiGregorio Rivera), often in the background, who effortlessly plays multiple instruments and offers comic relief. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Notably, there are no boys at the program, and throughout the summer, these girls create unexpected bonds despite their clashing personalities.\u003c/p>\n\u003cfigure id=\"attachment_13987821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yeena Sung (Rile), Gianna DiGregorio Rivera (Clementine), and Naomi Latta (Margot) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a series of monologues, we get a glimpse into the minds of these girls and their home lives; the play touches on heavy themes like eating disorders, substance abuse, sexuality and homelessness. But as is often the case with teenage girls (I speak from experience), they’re so consumed by their own struggles that they fail to recognize how vastly different their lives are outside this shared space. \u003c/p>\n\u003cp>At one point in the first interactions between Fax and Margot, Fax turns to the audience and says “I don’t know this yet, but this person has begun to shape my life.” While the audience laughed at this break of the fourth wall, it resonated deeply with me. It’s often only in hindsight that we recognize how deeply people have impacted us – especially those we least expected. \u003c/p>\n\u003cp>Even Clementine, who doesn’t forge as deep a relationship with the other three, represents something important: the person you often take for granted. Someone who’s always there, and you don’t realize how much their presence really mattered until they aren’t anymore. \u003c/p>\n\u003cfigure id=\"attachment_13987822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Latta (Margot) and Gianna DiGregorio Rivera (Clementine) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the play, we we learn that none of these girls really kept in touch. They’ve all grown in ways that are natural, and that their high school selves could have never imagined. \u003c/p>\n\u003cp>Part of me wanted to see the girls get past their differences and help each other grow through life. But that’s not typically how things play out. The abrupt ending to these friendships as summer ends is true to these fleeting-yet-formative friendships.\u003c/p>\n\u003cp>\u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em> doesn’t mourn that girlhood ends — it honors what grows from of it. As I wrote in that sophomore-year opinion piece, “These are the people who shape you into who you are and who you want to become, even if it’s only a brief amount of time that your paths cross.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘||: Girls :|| ||: Chance :|| ||: Music :||’ runs through April 19 at ACT’s Strand Theater (1127 Market St., San Francisco). \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/girls-chance-music/performances\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, I wrote an opinion piece for my college paper titled “Friends Aren’t Forever and That’s Okay.” Reflecting on the fleeting nature of high school friendships, I realized that even though those friendships didn’t last, they meant a great deal, and shaped me in ways I couldn’t fully understand at the time.\u003c/p>\n\u003cp>I’ve graduated college now, but couldn’t help but think of these friendships while watching \u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em>, a new play by Eisa Davis at \u003ca href=\"https://www.kqed.org/arts/tag/act\">ACT\u003c/a>’s Strand Theater in San Francisco. Davis, raised in the Bay Area and inspired by her time in UC Berkeley’s Young Musicians Program, clearly understands the bonds of girlhood. Directed by outgoing ACT Artistic Director Pam MacKinnon, the play captures the essence of being a teenage girl amongst other teenage girls: a combination of ego and uncertainty, with small moments feeling magnified and personal. \u003c/p>\n\u003cp>In \u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em>, we’re introduced to four high school girls at a prestigious summer music program in Berkeley who’ve been assigned to rehearse and perform together as a group. Aside from their love for music, they seem to have nothing in common.\u003c/p>\n\u003cfigure id=\"attachment_13987819\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hillary Fisher (Fax) and Naomi Latta (Margot) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fax (Hillary Fisher), the group’s vocalist, is anxious, hyper-prepared and constantly overthinking, a perfectionist prone to rambling. In contrast, Margot (Naomi Latta), the group’s drummer, is laid-back and carefree. She proclaims that “words are so not [her] vibe,” yet her playing reveals an intensity beneath the surface.\u003c/p>\n\u003cp>Riles (Yeena Sung), the pianist, is vibrant and unapologetically expressive, with multicolored hair, a wardrobe filled with fun prints and Labubus hanging from their backpack. Then there’s the more reticent Clementine (Gianna DiGregorio Rivera), often in the background, who effortlessly plays multiple instruments and offers comic relief. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Notably, there are no boys at the program, and throughout the summer, these girls create unexpected bonds despite their clashing personalities.\u003c/p>\n\u003cfigure id=\"attachment_13987821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yeena Sung (Rile), Gianna DiGregorio Rivera (Clementine), and Naomi Latta (Margot) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a series of monologues, we get a glimpse into the minds of these girls and their home lives; the play touches on heavy themes like eating disorders, substance abuse, sexuality and homelessness. But as is often the case with teenage girls (I speak from experience), they’re so consumed by their own struggles that they fail to recognize how vastly different their lives are outside this shared space. \u003c/p>\n\u003cp>At one point in the first interactions between Fax and Margot, Fax turns to the audience and says “I don’t know this yet, but this person has begun to shape my life.” While the audience laughed at this break of the fourth wall, it resonated deeply with me. It’s often only in hindsight that we recognize how deeply people have impacted us – especially those we least expected. \u003c/p>\n\u003cp>Even Clementine, who doesn’t forge as deep a relationship with the other three, represents something important: the person you often take for granted. Someone who’s always there, and you don’t realize how much their presence really mattered until they aren’t anymore. \u003c/p>\n\u003cfigure id=\"attachment_13987822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Latta (Margot) and Gianna DiGregorio Rivera (Clementine) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the play, we we learn that none of these girls really kept in touch. They’ve all grown in ways that are natural, and that their high school selves could have never imagined. \u003c/p>\n\u003cp>Part of me wanted to see the girls get past their differences and help each other grow through life. But that’s not typically how things play out. The abrupt ending to these friendships as summer ends is true to these fleeting-yet-formative friendships.\u003c/p>\n\u003cp>\u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em> doesn’t mourn that girlhood ends — it honors what grows from of it. As I wrote in that sophomore-year opinion piece, “These are the people who shape you into who you are and who you want to become, even if it’s only a brief amount of time that your paths cross.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘||: Girls :|| ||: Chance :|| ||: Music :||’ runs through April 19 at ACT’s Strand Theater (1127 Market St., San Francisco). \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/girls-chance-music/performances\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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