8 Things I Fixed in This Broken Year
The Best Dishes I Ate in 2021
I Left My Pod For This: Your Stories of Re-Entering the World in 2021
Nine Bay Area Books from 2021 to Celebrate our Survival
The Best Art I Saw in 2021
The 10 Best Bay Area Albums of 2021
The Year LaRussell Called His Shot
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In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"},"ogpenn":{"type":"authors","id":"11491","meta":{"index":"authors_1591205172","id":"11491","found":true},"name":"Pendarvis Harshaw","firstName":"Pendarvis","lastName":"Harshaw","slug":"ogpenn","email":"ogpenn@gmail.com","display_author_email":false,"staff_mastheads":["arts"],"title":"Columnist and Host, Rightnowish","bio":"Pendarvis Harshaw is the host of \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em>\u003c/a> on KQED-FM, a columnist at KQED Arts, and the author of \u003ci>OG Told Me,\u003c/i> a memoir about growing up in Oakland.","avatar":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twitter":"ogpenn","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"bayareabites","roles":["author"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Pendarvis Harshaw | KQED","description":"Columnist and Host, Rightnowish","ogImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ogpenn"},"ngluckstern":{"type":"authors","id":"11497","meta":{"index":"authors_1591205172","id":"11497","found":true},"name":"Nicole Gluckstern","firstName":"Nicole","lastName":"Gluckstern","slug":"ngluckstern","email":"gluckstern.nicole@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":null,"avatar":"https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Nicole Gluckstern | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ngluckstern"},"ltsai":{"type":"authors","id":"11743","meta":{"index":"authors_1591205172","id":"11743","found":true},"name":"Luke Tsai","firstName":"Luke","lastName":"Tsai","slug":"ltsai","email":"ltsai@kqed.org","display_author_email":true,"staff_mastheads":["arts"],"title":"Food Editor","bio":"Luke Tsai is KQED's food editor and resident stinky tofu connoisseur. Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. When he isn't writing or editing, you'll find him eating most everything he can get his hands on.","avatar":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twitter":"theluketsai","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]}],"headData":{"title":"Luke Tsai | KQED","description":"Food Editor","ogImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ltsai"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13907178":{"type":"posts","id":"arts_13907178","meta":{"index":"posts_1591205157","site":"arts","id":"13907178","score":null,"sort":[1639162473000]},"guestAuthors":[],"slug":"8-things-i-fixed-in-this-broken-year","title":"8 Things I Fixed in This Broken Year","publishDate":1639162473,"format":"standard","headTitle":"8 Things I Fixed in This Broken Year | KQED","labelTerm":{},"content":"\u003cp>While the country hovered in semi-reopened limbo throughout 2021, it seemed like the only news coming in was bad. Trump supporters raiding the Capitol. The delta variant\u003cspan style=\"font-weight: 400\">’\u003c/span>s summertime surge. The Supreme Court dismantling Roe v. Wade. Elon Musk-worshipping, MLM-in-sheep’s-clothing bros spending millions in \u003ca href=\"https://www.theverge.com/2021/3/15/22328203/nft-cryptoart-ethereum-blockchain-climate-change\" target=\"_blank\" rel=\"noopener noreferrer\">climate-destroying crypto\u003c/a> for \u003ca href=\"https://www.cracked.com/article_31914_nfts-are-so-so-dumb.html\" target=\"_blank\" rel=\"noopener noreferrer\">proof that they own a .jpg\u003c/a> and heralding it as \u003ca href=\"https://www.instagram.com/p/COStujxBFvB/\" target=\"_blank\" rel=\"noopener noreferrer\">the future of art\u003c/a>.\u003c/p>\n\u003cp>You can’t really fix the world’s big problems on your own. But you can fix the small stuff in your life. Having somehow graduated from my youthful indiscretions to the rank of \u003ca href=\"https://www.instagram.com/p/B8-hfAgl9dp/\" target=\"_blank\" rel=\"noopener noreferrer\">Official Suburban Dad\u003c/a>, I found a sense of accomplishment in home repair in 2021—and was reminded of some bigger lessons along the way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Faucet.1920.jpg\" alt=\"a chrome-plated nickel faucet\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>The Bathroom Faucet\u003c/strong>\u003cbr>\nIt was around early January when I heard something dripping in the bathroom. What with an attempted coup by domestic terrorists led by an impeached president on my mind, I put off investigating it. A few days later, the hardwood floor around our sink had buckled and warped, so I finally replaced the seals inside the faucet—an easy, 10-minute job. Replacing the floorboards took five hours.\u003c/p>\n\u003cp>Lesson: Fix the problem before it gets progressively worse and destroys everything. (This is a helpful tip for democracy, too.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_4501.jpg\" alt=\"the inside of a Yamaha stereo receiver, showing wires and transformers\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>A Stereo Receiver\u003c/strong>\u003cbr>\nIt’s one of the most common problems for stereo equipment: sound only coming out of one channel. Our speaker wires run beneath the floorboards, so while trying to isolate the issue, I crawled under the house. Turns out the wires were fine, but down there in the tiny crawlspace among the dirt and nails and bones, I realized that after being cooped up inside for the past 18 months, the most exciting place in the house is \u003ca href=\"https://www.instagram.com/p/B_JhPisFw55/\" target=\"_blank\" rel=\"noopener noreferrer\">actually \u003cem>under\u003c/em> the house\u003c/a>.\u003c/p>\n\u003cp>Lesson: Explore. See what’s around you. Don\u003cspan style=\"font-weight: 400\">’\u003c/span>t get in a rut.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_2070.jpg\" alt=\"twin SU carburetors attached to a vintage volvo engine\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>The Carburetor on a B18 Engine\u003c/strong>\u003cbr>\nTen years ago I bought a 1964 Volvo that had a Weber conversion—basically, a cheap replacement carburetor for the car’s original twin SU carburetors, which are tricky to maintain but have a dedicated fan club. One such fan was \u003ca href=\"https://www.instagram.com/p/CQIERt8rT0R/\" target=\"_blank\" rel=\"noopener noreferrer\">Robin Jackson\u003c/a>, an import-auto mentor of mine. Robin always told me I should rip out the Weber and put in some SUs, and after he died in June at age 88, I did just that, in tribute. The two-week job was tedious, complex and maddening, but Robin was right: \u003ca href=\"https://www.instagram.com/p/CSnj4NInh1Q/\" target=\"_blank\" rel=\"noopener noreferrer\">the engine runs like a dream now\u003c/a>.\u003c/p>\n\u003cp>Lesson: Listen to your elders. They’ve been there, they know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_4512.jpg\" alt=\"a rope-and-pulley contraption attached to a yellow screen door\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>The Screen Door\u003c/strong>\u003cbr>\nIn March, as the weather warmed up, I finally installed a screen door I bought from Craigslist. After painting it and hanging it, the question arose: should I install spring-loaded hinges or a hydraulic door closer? Instead, remembering a fun trick I learned from my friend Josh, I rigged up a series of eyelets, pulleys, rope and a large fishing weight. Voilà: the screen door closes by gravity.\u003c/p>\n\u003cp>Lesson: Be resourceful. You don\u003cspan style=\"font-weight: 400\">’\u003c/span>t have to rely on fancy stuff to do what the laws of nature do already.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/image0.jpg\" alt=\"a canon scanner from 2010\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>An Old Scanner\u003c/strong>\u003cbr>\nOur scanner is over 10 years old and Canon stopped supporting it, and if you couldn’t tell by now, I like to keep old things running. When a system update rendered its software useless, I couldn’t bring myself to throw it out. So I searched around and found some Web 1.0 site run by lovable scanner nerds. They sold me a cheap driver for it, and I’m back in business scanning \u003ca href=\"https://www.instagram.com/p/CCKwa8kFMqM/\" target=\"_blank\" rel=\"noopener noreferrer\">really important stuff\u003c/a>.\u003c/p>\n\u003cp>Lesson: If the official dealer won’t help you, remember that \u003ca href=\"https://youtu.be/O7VaXlMvAvk?t=253\" target=\"_blank\" rel=\"noopener noreferrer\">everybody’s got a guy\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/DIsposal.jpg\" alt=\"the plumbing underneath a kitchen sink, with a garbage disposal\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>The Garbage Disposal\u003c/strong>\u003cbr>\nImagine my surprise when I noticed the garbage disposal we’ve had for just seven years wasn’t only broken—it was leaking out of the bottom, water dripping all around the reset button. Meaning that the engine, and the wiring, were saturated. Yeah, no. One hour and a trip to the hardware store later, I pulled all the plumbing apart and installed a new garbage disposal.\u003c/p>\n\u003cp>Lesson: Sometimes you gotta just cut your losses, man. Don\u003cspan style=\"font-weight: 400\">’\u003c/span>t electrocute yourself trying to be a hero.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_4315.jpg\" alt=\"a close-up of a golf bag, showing a broken leather handle\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>A Golf Bag\u003c/strong>\u003cbr>\nI golf exactly once a year, and always with my dad. I am also terrible at golf, so when both the handle and zipper ripped out on my classy 1960s golf bag, I wasn’t in a rush to take care of it. But then this sad thing happened in the pandemic—maybe it happened to you, too—where I \u003cem>over\u003c/em>-acclimated to being isolated, and even accidentally stopped calling the people I love. So, the other night, I sawed and drilled some plywood and used locking nuts to fix the handle, and sewed the zipper back together, and I’m ready to go suck at golf again while hanging out for a few hours with my dad.\u003c/p>\n\u003cp>Lesson: Call your folks. Check in with friends. Hang out with people you love.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_4153.jpg\" alt=\"a large boiler with pilot light assembly\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>The Hydronic Boiler\u003c/strong>\u003cbr>\nThis fall brought the usual pilot-lighting ritual, and despite multiple attempts involving every trick known to man, the hydronic boiler simply would not fire up. Sheepishly, I called a repairman, and even more sheepishly, I watched as he followed the same exact steps I had followed… and got the damn thing to light on the first try! It was humiliating, \u003cem>and\u003c/em> it cost me $90.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lesson: Before giving up, knock it on the side, blow on it, and keep trying. Don’t be embarrassed if you can’t get it right the first time. Take breaks. Cut yourself some slack in this nonsense-addled year. There\u003cspan style=\"font-weight: 400\">’\u003c/span>s always 2022.\u003c/p>\n\n","blocks":[],"excerpt":"How home repair in 2021 helped me connect with others, explore my surroundings, and resist consumer culture.","status":"publish","parent":0,"modified":1705007396,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":989},"headData":{"title":"8 Things I Fixed in This Broken Year | KQED","description":"How home repair in 2021 helped me connect with others, explore my surroundings, and resist consumer culture.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"8 Things I Fixed in This Broken Year","datePublished":"2021-12-10T18:54:33.000Z","dateModified":"2024-01-11T21:09:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2021 recapped","sourceUrl":"https://www.kqed.org/arts/tag/2021-recapped","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13907178/8-things-i-fixed-in-this-broken-year","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the country hovered in semi-reopened limbo throughout 2021, it seemed like the only news coming in was bad. Trump supporters raiding the Capitol. The delta variant\u003cspan style=\"font-weight: 400\">’\u003c/span>s summertime surge. The Supreme Court dismantling Roe v. Wade. Elon Musk-worshipping, MLM-in-sheep’s-clothing bros spending millions in \u003ca href=\"https://www.theverge.com/2021/3/15/22328203/nft-cryptoart-ethereum-blockchain-climate-change\" target=\"_blank\" rel=\"noopener noreferrer\">climate-destroying crypto\u003c/a> for \u003ca href=\"https://www.cracked.com/article_31914_nfts-are-so-so-dumb.html\" target=\"_blank\" rel=\"noopener noreferrer\">proof that they own a .jpg\u003c/a> and heralding it as \u003ca href=\"https://www.instagram.com/p/COStujxBFvB/\" target=\"_blank\" rel=\"noopener noreferrer\">the future of art\u003c/a>.\u003c/p>\n\u003cp>You can’t really fix the world’s big problems on your own. But you can fix the small stuff in your life. Having somehow graduated from my youthful indiscretions to the rank of \u003ca href=\"https://www.instagram.com/p/B8-hfAgl9dp/\" target=\"_blank\" rel=\"noopener noreferrer\">Official Suburban Dad\u003c/a>, I found a sense of accomplishment in home repair in 2021—and was reminded of some bigger lessons along the way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Faucet.1920.jpg\" alt=\"a chrome-plated nickel faucet\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Faucet.1920-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>The Bathroom Faucet\u003c/strong>\u003cbr>\nIt was around early January when I heard something dripping in the bathroom. What with an attempted coup by domestic terrorists led by an impeached president on my mind, I put off investigating it. A few days later, the hardwood floor around our sink had buckled and warped, so I finally replaced the seals inside the faucet—an easy, 10-minute job. Replacing the floorboards took five hours.\u003c/p>\n\u003cp>Lesson: Fix the problem before it gets progressively worse and destroys everything. (This is a helpful tip for democracy, too.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_4501.jpg\" alt=\"the inside of a Yamaha stereo receiver, showing wires and transformers\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4501-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>A Stereo Receiver\u003c/strong>\u003cbr>\nIt’s one of the most common problems for stereo equipment: sound only coming out of one channel. Our speaker wires run beneath the floorboards, so while trying to isolate the issue, I crawled under the house. Turns out the wires were fine, but down there in the tiny crawlspace among the dirt and nails and bones, I realized that after being cooped up inside for the past 18 months, the most exciting place in the house is \u003ca href=\"https://www.instagram.com/p/B_JhPisFw55/\" target=\"_blank\" rel=\"noopener noreferrer\">actually \u003cem>under\u003c/em> the house\u003c/a>.\u003c/p>\n\u003cp>Lesson: Explore. See what’s around you. Don\u003cspan style=\"font-weight: 400\">’\u003c/span>t get in a rut.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_2070.jpg\" alt=\"twin SU carburetors attached to a vintage volvo engine\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_2070-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>The Carburetor on a B18 Engine\u003c/strong>\u003cbr>\nTen years ago I bought a 1964 Volvo that had a Weber conversion—basically, a cheap replacement carburetor for the car’s original twin SU carburetors, which are tricky to maintain but have a dedicated fan club. One such fan was \u003ca href=\"https://www.instagram.com/p/CQIERt8rT0R/\" target=\"_blank\" rel=\"noopener noreferrer\">Robin Jackson\u003c/a>, an import-auto mentor of mine. Robin always told me I should rip out the Weber and put in some SUs, and after he died in June at age 88, I did just that, in tribute. The two-week job was tedious, complex and maddening, but Robin was right: \u003ca href=\"https://www.instagram.com/p/CSnj4NInh1Q/\" target=\"_blank\" rel=\"noopener noreferrer\">the engine runs like a dream now\u003c/a>.\u003c/p>\n\u003cp>Lesson: Listen to your elders. They’ve been there, they know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_4512.jpg\" alt=\"a rope-and-pulley contraption attached to a yellow screen door\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4512-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>The Screen Door\u003c/strong>\u003cbr>\nIn March, as the weather warmed up, I finally installed a screen door I bought from Craigslist. After painting it and hanging it, the question arose: should I install spring-loaded hinges or a hydraulic door closer? Instead, remembering a fun trick I learned from my friend Josh, I rigged up a series of eyelets, pulleys, rope and a large fishing weight. Voilà: the screen door closes by gravity.\u003c/p>\n\u003cp>Lesson: Be resourceful. You don\u003cspan style=\"font-weight: 400\">’\u003c/span>t have to rely on fancy stuff to do what the laws of nature do already.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/image0.jpg\" alt=\"a canon scanner from 2010\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/image0-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>An Old Scanner\u003c/strong>\u003cbr>\nOur scanner is over 10 years old and Canon stopped supporting it, and if you couldn’t tell by now, I like to keep old things running. When a system update rendered its software useless, I couldn’t bring myself to throw it out. So I searched around and found some Web 1.0 site run by lovable scanner nerds. They sold me a cheap driver for it, and I’m back in business scanning \u003ca href=\"https://www.instagram.com/p/CCKwa8kFMqM/\" target=\"_blank\" rel=\"noopener noreferrer\">really important stuff\u003c/a>.\u003c/p>\n\u003cp>Lesson: If the official dealer won’t help you, remember that \u003ca href=\"https://youtu.be/O7VaXlMvAvk?t=253\" target=\"_blank\" rel=\"noopener noreferrer\">everybody’s got a guy\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/DIsposal.jpg\" alt=\"the plumbing underneath a kitchen sink, with a garbage disposal\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DIsposal-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>The Garbage Disposal\u003c/strong>\u003cbr>\nImagine my surprise when I noticed the garbage disposal we’ve had for just seven years wasn’t only broken—it was leaking out of the bottom, water dripping all around the reset button. Meaning that the engine, and the wiring, were saturated. Yeah, no. One hour and a trip to the hardware store later, I pulled all the plumbing apart and installed a new garbage disposal.\u003c/p>\n\u003cp>Lesson: Sometimes you gotta just cut your losses, man. Don\u003cspan style=\"font-weight: 400\">’\u003c/span>t electrocute yourself trying to be a hero.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_4315.jpg\" alt=\"a close-up of a golf bag, showing a broken leather handle\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4315-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>A Golf Bag\u003c/strong>\u003cbr>\nI golf exactly once a year, and always with my dad. I am also terrible at golf, so when both the handle and zipper ripped out on my classy 1960s golf bag, I wasn’t in a rush to take care of it. But then this sad thing happened in the pandemic—maybe it happened to you, too—where I \u003cem>over\u003c/em>-acclimated to being isolated, and even accidentally stopped calling the people I love. So, the other night, I sawed and drilled some plywood and used locking nuts to fix the handle, and sewed the zipper back together, and I’m ready to go suck at golf again while hanging out for a few hours with my dad.\u003c/p>\n\u003cp>Lesson: Call your folks. Check in with friends. Hang out with people you love.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13907183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_4153.jpg\" alt=\"a large boiler with pilot light assembly\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_4153-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>The Hydronic Boiler\u003c/strong>\u003cbr>\nThis fall brought the usual pilot-lighting ritual, and despite multiple attempts involving every trick known to man, the hydronic boiler simply would not fire up. Sheepishly, I called a repairman, and even more sheepishly, I watched as he followed the same exact steps I had followed… and got the damn thing to light on the first try! It was humiliating, \u003cem>and\u003c/em> it cost me $90.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lesson: Before giving up, knock it on the side, blow on it, and keep trying. Don’t be embarrassed if you can’t get it right the first time. Take breaks. Cut yourself some slack in this nonsense-addled year. There\u003cspan style=\"font-weight: 400\">’\u003c/span>s always 2022.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907178/8-things-i-fixed-in-this-broken-year","authors":["185"],"categories":["arts_1","arts_2303"],"tags":["arts_16311","arts_2767","arts_11040"],"featImg":"arts_13907189","label":"source_arts_13907178"},"arts_13907197":{"type":"posts","id":"arts_13907197","meta":{"index":"posts_1591205157","site":"arts","id":"13907197","score":null,"sort":[1639161682000]},"guestAuthors":[],"slug":"best-dishes-bay-area-2021","title":"The Best Dishes I Ate in 2021","publishDate":1639161682,"format":"standard","headTitle":"The Best Dishes I Ate in 2021 | KQED","labelTerm":{},"content":"\u003cp>When I worked for a glossy magazine, I was sometimes taken to task for my predilection toward only ever writing about food that consisted of different shades of brown—monochrome food that couldn’t be photographed beautifully enough, I was told, to carry a big, splashy feature story.\u003c/p>\n\u003cp>Is it surprising, then, that this year—all of us still in the thick of a stressful, world-altering pandemic—all I wanted to eat was brown food? Which is to say, the comfort foods.\u003c/p>\n\u003cp>The truth is, 2021 also marked my return to a handful of posh, trendy restaurants—both for takeout and in person—but very few of them made any lasting impression. Instead, all I could think about were big pots of meaty stew, redolent with spice. Japanese curry ladled over rice. Pork chop bento boxes. Noodle soups in which a large number of bones simmer for hours.\u003c/p>\n\u003cp>It was that kind of year. For me, that also meant that it was an especially delicious year. Here, then, are my 10 favorite things I ate in 2021, presented in roughly chronological order.\u003c/p>\n\u003cfigure id=\"attachment_13907206\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907206\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/hina_sandwich_LT-scaled.jpg\" alt=\"A fried chicken sandwich in a plastic takeout container.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hina’s Yogenbori fried chicken sandwich is a Tokyo-Nashville hybrid. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>1. Yogenbori hot chicken sandwich at Hina Yakitori\u003c/b>\u003c/h4>\n\u003cp>\u003ci>808 Divisadero St., San Francisco\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Remember the stage of the pandemic when every fancy Bay Area restaurant converted into a fried chicken sandwich shack? That’s what it felt like, anyway. I must have eaten a dozen different versions, but the one that sparked the most joy, by far, was the immaculately crunchy \u003ca href=\"https://sf.eater.com/2021/1/21/22241119/hina-yakitori-yagenbori-nashville-hot-chicken-japanese-shichimi-togarashi\">Nashville-Tokyo hybrid\u003c/a> that \u003ca href=\"https://www.hinasf.com/\">Hina Yakitori\u003c/a> chef Tommy Cleary cooked up, tossing boneless thighs in hot oil and a shichimi togarashi spice mix after they’ve been fried. Sitting in my parked car on a cloudy spring afternoon, I must have eaten the whole sandwich in about two minutes flat. Named after the shop that invented shichimi togarashi back in the 1600s, the Yogenbori hot chicken has been off the menu since Hina resumed in-person dining, but Cleary promises the sandwich will be back sometime in 2022.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F1gVtH_48Do\u003c/p>\n\u003ch4>\u003cb>2. Bo kho tacos at Pho Vy\u003c/b>\u003c/h4>\n\u003cp>\u003ci>401 International Blvd., Oakland\u003c/i>\u003c/p>\n\u003cp>If quesabirria was the Bay Area dish of 2020, then 2021 was the year when it seemed like \u003ci>every\u003c/i> meaty, stew-y dish got quesabirria-ized, regardless of culture of origin. In the case of \u003ca href=\"http://phovyoakland.com/\">Pho Vy’s\u003c/a> extraordinary \u003ca href=\"https://www.kqed.org/arts/13895488/pho-vy-oakland-vietnamese-tacos-quesabirria-bo-kho\">bo kho tacos\u003c/a>, it just made sense: The restaurant’s Vietnamese-style beef stew was already one of my favorite cold-weather dishes in the East Bay. Piling the tender, star anise–tinged beef onto a griddle-crisped tortilla and topping it with melted cheese and sweet carrot and daikon pickles simply multiplies the comfort quotient. The cup of bo kho broth (the “consomé”) on the side—for dunking—is optional but highly recommended.\u003c/p>\n\u003cfigure id=\"attachment_13907199\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/mamaliu_luroufan_LT-scaled.jpg\" alt=\"A bowl of rice topped with braised pork belly, egg and pickled greens.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The lu rou fan at Mama Liu hit the right notes of Taiwanese American nostalgia. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>3. Lu rou fan at Mama Liu\u003c/b>\u003c/h4>\n\u003cp>\u003ci>Various locations in the South Bay and Peninsula\u003c/i>\u003c/p>\n\u003cp>This was the year I \u003ca href=\"https://www.kqed.org/arts/13897272/bay-area-taiwanese-food-scene-nostalgia\">reconsidered my long-held skepticism about the Bay Area’s Taiwanese food scene\u003c/a>, mainly by venturing outside the Oakland-San Francisco bubble to find delicious pork chop rice, \u003ca href=\"https://www.kqed.org/arts/13897868/taiwanese-breakfast-bay-area\">fan tuan and Taiwanese breakfast burgers\u003c/a> in places like Fremont, Milpitas and Cupertino. What struck the biggest chord of nostalgia, though, was the tub of braised pork belly—or lu rou fan—that I bought from a food truck called \u003ca href=\"https://www.facebook.com/Mama-Liu-Taiwanese-Street-Food-424857264260232/\">Mama Liu\u003c/a>. Ladled over white rice, the tender hand-cut belly brought me straight back to happier, pre-pandemic times, when I’d \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">scour the streets of Taipei\u003c/a> in search of that classic, quintessentially Taiwanese taste.\u003c/p>\n\u003cfigure id=\"attachment_13896073\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Jolly-Jolly_noodle-scaled.jpg\" alt=\"Overhead view of jollof Indomie: Indomie instant noodles tossed with vegetables and topped with plantains and scrambled egg\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Indomie jollof: a classic breakfast for thrifty Nigerian university students. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>4. Jollof Indomie at Jolly-Jolly Coffee & Kitchen\u003c/b>\u003c/h4>\n\u003cp>\u003ci>1498 7th St. Ste. B, Oakland\u003c/i>\u003c/p>\n\u003cp>I have been eating instant noodles my entire life, and it never once occurred to me to have them for breakfast. So it was that the \u003ca href=\"https://www.kqed.org/arts/13896069/jolly-jolly-nigerian-restaurant-west-oakland-jollof-rice-indomie\">jollof Indomie\u003c/a> at West Oakland’s \u003ca href=\"https://www.jollyjollyllc.com/\">Jolly-Jolly\u003c/a> expanded my mind to a whole new world of delicious possibilities. In Nigeria, the simple stir-fry of Indomie brand instant noodles, diced vegetables and spices is a breakfast staple for thrifty college students. Jolly-Jolly’s version comes with a little egg scramble and fried plantains, which made for such a tasty combination that I still think about the dish on almost a weekly basis.\u003c/p>\n\u003cfigure id=\"attachment_13907207\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907207\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-scaled.jpg\" alt=\"Overhead view of a takeout container of garlic noodles, roasted mushrooms and crispy pork belly.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The entire menu at Noodle Belly is built around garlic noodles. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>5. Garlic noodles at Noodle Belly\u003c/b>\u003c/h4>\n\u003cp>\u003ci>1014 Fruitvale Ave., Oakland\u003c/i>\u003c/p>\n\u003cp>I don’t think I’ve ever encountered a plate of garlic noodles I didn’t like, but the version at \u003ca href=\"https://www.noodlebelly.com/\">Noodle Belly\u003c/a>—whose entire menu is built around the butter-soaked carb—reminded me of just how great the \u003ca href=\"https://www.kqed.org/arts/13900855/garlic-noodles-sf-bay-area-iconic-foods-thanh-long-smellys\">iconic Bay Area dish\u003c/a> can be: chewy, crisp at the edges and slicked with a garlicky secret sauce so singularly delicious, the restaurant’s employees all have to sign NDAs. It didn’t hurt either that all of the adornments were just as stellar—the cubes of luxuriously fatty fried pork belly; the thick, meaty slices of roasted king trumpet mushroom.\u003c/p>\n\u003cfigure id=\"attachment_13907200\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907200\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-scaled.jpg\" alt=\"An earthenware bowl of beef barbacoa, with tortillas wrapped in a dish towel on the side.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The barbacoa at Mi Zacatecas marked the return of an old favorite. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>6. Barbacoa at Mi Zacatecas\u003c/b>\u003c/h4>\n\u003cp>\u003ci>6633 Bancroft Ave., Oakland\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://sf.eater.com/2019/4/19/18410748/mi-zacatecas-cecilia-chairez-gorditas-macarthur-oakland\">The Bay Area’s only Zacatecan restaurant\u003c/a> had the misfortune of scheduling its move to a new location right around the time the pandemic hit, effectively shutting the operation down for an entire year. But I’m happy to report that \u003ca href=\"https://www.instagram.com/mizacatecas_mexicanfood/?hl=en\">Mi Zacatecas\u003c/a> is very much back in business, still serving the finest gorditas in the Bay. The first time I sat down inside the restaurant’s new, more spacious East Oakland digs, it was on a weekend, which meant there were glistening bowls of beef barbacoa, unspeakably tender and rich, served with handmade tortillas still hot off the griddle—a luxury I’d nearly forgotten about after a year of takeout.\u003c/p>\n\u003cfigure id=\"attachment_13907215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/WhataChicken-800x600.jpg\" alt=\"A man in a flannel and hat tends to chicken on a grill on an overcast day\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What a Chicken’s outdoor grill, seen here at the Santa Rosa Flea Market. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>7. Char-grilled chicken at What a Chicken\u003c/b>\u003c/h4>\n\u003cp>\u003ci>706 E. Washington St., Petaluma\u003c/i>\u003c/p>\n\u003cp>A quick pit stop on the way home from a little weekend Sonoma County getaway wound up being the best meal of the whole trip: \u003ca href=\"https://www.instagram.com/whatachicken_petaluma/?hl=en\">What a Chicken’s\u003c/a> spatchcocked, char-grilled birds were devastatingly juicy and full-flavored, and the pork ribs were just as good—a triumph of slow, careful cooking. Add rice, salsa and excellent, piping-hot tortillas, and you have yourself the ideal family-style meal.\u003c/p>\n\u003cfigure id=\"attachment_13907201\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13907201 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-scaled.jpg\" alt=\"Sliced gyro meat next to a pool of yogurt in an aluminum takeout container.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Richmond Kebab’s iskender kebab is a textural delight. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>8. Iskender kebab at Richmond Kebab & Gyros\u003c/b>\u003c/h4>\n\u003cp>\u003ci>15501 San Pablo Ave. Ste. J, Richmond\u003c/i>\u003c/p>\n\u003cp>Somehow I’ve lived in Richmond for four years and never knew the city was home to some of the tastiest kebabs this side of Fremont. This unobtrusive strip mall kebab shop features a habit-forming red pepper sauce and the most exquisitely tender, flavorful chicken. But the star of the menu is the Turkish-style iskender kebab: gyro meat sliced thin, slathered with tomato sauce and re-crisped, then served on a bed of crispy diced potatoes—a textural delight—with a pool of yogurt on the side.\u003c/p>\n\u003cfigure id=\"attachment_13904851\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904851\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-scaled.jpg\" alt=\"Meat and vegetables sizzling on a hot flat-top grill.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">One of the signature dishes at Jubba, in San Jose, is the beef suqaar, a kind of Somali stir-fry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>9. Roasted Goat Cutlet Plate at Jubba Restaurant\u003c/b>\u003c/h4>\n\u003cp>\u003ci>5330 Terner Way, San Jose\u003c/i>\u003c/p>\n\u003cp>If I lived in San Jose, I would order the goat plate at Jubba, the Bay Area’s only Somali Restaurant, at least once a week. Like so many of the restaurant’s dishes, it’s presented as a stir-fry, essentially: tender, well-charred chunks of goat meat tossed in a tangy, tamarind-based sauce, with caramelized onions, bell peppers and—to my surprise and delight—water chestnuts and baby corn, which I’d previously only encountered in Asian food. Get it with the immaculately seasoned herbed rice and save a little bit of everything for leftovers. Somehow everything tastes even better the next day.\u003c/p>\n\u003cfigure id=\"attachment_13907202\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-scaled.jpg\" alt=\"A spread of raw meat and seafood next to a Japanese-style tabletop charcoal grill. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The outdoor yakiniku setup at Fish & Bird. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>10. Yakiniku at Fish & Bird\u003c/b>\u003c/h4>\n\u003cp>\u003ci>2451 Shattuck Ave., Berkeley\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>My most spur-of-the-moment splurge meal of the year came on a recent chilly evening in Berkeley, when a group of us decided to spring for \u003ca href=\"https://fishbirdizakaya.com/\">Fish & Bird’s\u003c/a> yakiniku set, which costs $75 a person and is best ordered with at least a half hour advance notice so the staff has time to adequately heat up the binchotan charcoal for their traditional Japanese tabletop grills. Out on the sidewalk in front of the restaurant, we grilled spot prawns, perfectly plump scallops, beef tongue and—the peak of luxury—richly marbled slices of A5 wagyu rib cap, which only needed the slightest kiss of the flame before we dipped them in salt and sesame oil. We slathered onigiri in yakiniku sauce and slowly turned them on the grill until their outsides were charred and crispy. If there’s a more festive, thoroughly enjoyable outdoor meal to be had during these pandemic times, I haven’t found it yet.\u003c/p>\n\n","blocks":[],"excerpt":"My year in comfort food.","status":"publish","parent":0,"modified":1705007398,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1599},"headData":{"title":"KQED Food Editor Luke Tsai's Best Dishes of 2021 | KQED","description":"My year in comfort food.","ogTitle":"The Best Dishes I Ate in 2021","ogDescription":"","ogImgId":"","twTitle":"The Best Dishes I Ate in 2021","twDescription":"","twImgId":"","socialTitle":"KQED Food Editor Luke Tsai's Best Dishes of 2021 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Dishes I Ate in 2021","datePublished":"2021-12-10T18:41:22.000Z","dateModified":"2024-01-11T21:09:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"/food/","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13907197/best-dishes-bay-area-2021","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I worked for a glossy magazine, I was sometimes taken to task for my predilection toward only ever writing about food that consisted of different shades of brown—monochrome food that couldn’t be photographed beautifully enough, I was told, to carry a big, splashy feature story.\u003c/p>\n\u003cp>Is it surprising, then, that this year—all of us still in the thick of a stressful, world-altering pandemic—all I wanted to eat was brown food? Which is to say, the comfort foods.\u003c/p>\n\u003cp>The truth is, 2021 also marked my return to a handful of posh, trendy restaurants—both for takeout and in person—but very few of them made any lasting impression. Instead, all I could think about were big pots of meaty stew, redolent with spice. Japanese curry ladled over rice. Pork chop bento boxes. Noodle soups in which a large number of bones simmer for hours.\u003c/p>\n\u003cp>It was that kind of year. For me, that also meant that it was an especially delicious year. Here, then, are my 10 favorite things I ate in 2021, presented in roughly chronological order.\u003c/p>\n\u003cfigure id=\"attachment_13907206\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907206\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/hina_sandwich_LT-scaled.jpg\" alt=\"A fried chicken sandwich in a plastic takeout container.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/hina_sandwich_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hina’s Yogenbori fried chicken sandwich is a Tokyo-Nashville hybrid. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>1. Yogenbori hot chicken sandwich at Hina Yakitori\u003c/b>\u003c/h4>\n\u003cp>\u003ci>808 Divisadero St., San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Remember the stage of the pandemic when every fancy Bay Area restaurant converted into a fried chicken sandwich shack? That’s what it felt like, anyway. I must have eaten a dozen different versions, but the one that sparked the most joy, by far, was the immaculately crunchy \u003ca href=\"https://sf.eater.com/2021/1/21/22241119/hina-yakitori-yagenbori-nashville-hot-chicken-japanese-shichimi-togarashi\">Nashville-Tokyo hybrid\u003c/a> that \u003ca href=\"https://www.hinasf.com/\">Hina Yakitori\u003c/a> chef Tommy Cleary cooked up, tossing boneless thighs in hot oil and a shichimi togarashi spice mix after they’ve been fried. Sitting in my parked car on a cloudy spring afternoon, I must have eaten the whole sandwich in about two minutes flat. Named after the shop that invented shichimi togarashi back in the 1600s, the Yogenbori hot chicken has been off the menu since Hina resumed in-person dining, but Cleary promises the sandwich will be back sometime in 2022.\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/F1gVtH_48Do'\n title='//www.youtube.com/embed/F1gVtH_48Do'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch4>\u003cb>2. Bo kho tacos at Pho Vy\u003c/b>\u003c/h4>\n\u003cp>\u003ci>401 International Blvd., Oakland\u003c/i>\u003c/p>\n\u003cp>If quesabirria was the Bay Area dish of 2020, then 2021 was the year when it seemed like \u003ci>every\u003c/i> meaty, stew-y dish got quesabirria-ized, regardless of culture of origin. In the case of \u003ca href=\"http://phovyoakland.com/\">Pho Vy’s\u003c/a> extraordinary \u003ca href=\"https://www.kqed.org/arts/13895488/pho-vy-oakland-vietnamese-tacos-quesabirria-bo-kho\">bo kho tacos\u003c/a>, it just made sense: The restaurant’s Vietnamese-style beef stew was already one of my favorite cold-weather dishes in the East Bay. Piling the tender, star anise–tinged beef onto a griddle-crisped tortilla and topping it with melted cheese and sweet carrot and daikon pickles simply multiplies the comfort quotient. The cup of bo kho broth (the “consomé”) on the side—for dunking—is optional but highly recommended.\u003c/p>\n\u003cfigure id=\"attachment_13907199\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/mamaliu_luroufan_LT-scaled.jpg\" alt=\"A bowl of rice topped with braised pork belly, egg and pickled greens.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mamaliu_luroufan_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The lu rou fan at Mama Liu hit the right notes of Taiwanese American nostalgia. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>3. Lu rou fan at Mama Liu\u003c/b>\u003c/h4>\n\u003cp>\u003ci>Various locations in the South Bay and Peninsula\u003c/i>\u003c/p>\n\u003cp>This was the year I \u003ca href=\"https://www.kqed.org/arts/13897272/bay-area-taiwanese-food-scene-nostalgia\">reconsidered my long-held skepticism about the Bay Area’s Taiwanese food scene\u003c/a>, mainly by venturing outside the Oakland-San Francisco bubble to find delicious pork chop rice, \u003ca href=\"https://www.kqed.org/arts/13897868/taiwanese-breakfast-bay-area\">fan tuan and Taiwanese breakfast burgers\u003c/a> in places like Fremont, Milpitas and Cupertino. What struck the biggest chord of nostalgia, though, was the tub of braised pork belly—or lu rou fan—that I bought from a food truck called \u003ca href=\"https://www.facebook.com/Mama-Liu-Taiwanese-Street-Food-424857264260232/\">Mama Liu\u003c/a>. Ladled over white rice, the tender hand-cut belly brought me straight back to happier, pre-pandemic times, when I’d \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">scour the streets of Taipei\u003c/a> in search of that classic, quintessentially Taiwanese taste.\u003c/p>\n\u003cfigure id=\"attachment_13896073\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Jolly-Jolly_noodle-scaled.jpg\" alt=\"Overhead view of jollof Indomie: Indomie instant noodles tossed with vegetables and topped with plantains and scrambled egg\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jolly-Jolly_noodle-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Indomie jollof: a classic breakfast for thrifty Nigerian university students. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>4. Jollof Indomie at Jolly-Jolly Coffee & Kitchen\u003c/b>\u003c/h4>\n\u003cp>\u003ci>1498 7th St. Ste. B, Oakland\u003c/i>\u003c/p>\n\u003cp>I have been eating instant noodles my entire life, and it never once occurred to me to have them for breakfast. So it was that the \u003ca href=\"https://www.kqed.org/arts/13896069/jolly-jolly-nigerian-restaurant-west-oakland-jollof-rice-indomie\">jollof Indomie\u003c/a> at West Oakland’s \u003ca href=\"https://www.jollyjollyllc.com/\">Jolly-Jolly\u003c/a> expanded my mind to a whole new world of delicious possibilities. In Nigeria, the simple stir-fry of Indomie brand instant noodles, diced vegetables and spices is a breakfast staple for thrifty college students. Jolly-Jolly’s version comes with a little egg scramble and fried plantains, which made for such a tasty combination that I still think about the dish on almost a weekly basis.\u003c/p>\n\u003cfigure id=\"attachment_13907207\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907207\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-scaled.jpg\" alt=\"Overhead view of a takeout container of garlic noodles, roasted mushrooms and crispy pork belly.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/noodle-belly_garlic-noodles_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The entire menu at Noodle Belly is built around garlic noodles. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>5. Garlic noodles at Noodle Belly\u003c/b>\u003c/h4>\n\u003cp>\u003ci>1014 Fruitvale Ave., Oakland\u003c/i>\u003c/p>\n\u003cp>I don’t think I’ve ever encountered a plate of garlic noodles I didn’t like, but the version at \u003ca href=\"https://www.noodlebelly.com/\">Noodle Belly\u003c/a>—whose entire menu is built around the butter-soaked carb—reminded me of just how great the \u003ca href=\"https://www.kqed.org/arts/13900855/garlic-noodles-sf-bay-area-iconic-foods-thanh-long-smellys\">iconic Bay Area dish\u003c/a> can be: chewy, crisp at the edges and slicked with a garlicky secret sauce so singularly delicious, the restaurant’s employees all have to sign NDAs. It didn’t hurt either that all of the adornments were just as stellar—the cubes of luxuriously fatty fried pork belly; the thick, meaty slices of roasted king trumpet mushroom.\u003c/p>\n\u003cfigure id=\"attachment_13907200\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907200\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-scaled.jpg\" alt=\"An earthenware bowl of beef barbacoa, with tortillas wrapped in a dish towel on the side.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mi-zacatecas_barbacoa_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The barbacoa at Mi Zacatecas marked the return of an old favorite. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>6. Barbacoa at Mi Zacatecas\u003c/b>\u003c/h4>\n\u003cp>\u003ci>6633 Bancroft Ave., Oakland\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://sf.eater.com/2019/4/19/18410748/mi-zacatecas-cecilia-chairez-gorditas-macarthur-oakland\">The Bay Area’s only Zacatecan restaurant\u003c/a> had the misfortune of scheduling its move to a new location right around the time the pandemic hit, effectively shutting the operation down for an entire year. But I’m happy to report that \u003ca href=\"https://www.instagram.com/mizacatecas_mexicanfood/?hl=en\">Mi Zacatecas\u003c/a> is very much back in business, still serving the finest gorditas in the Bay. The first time I sat down inside the restaurant’s new, more spacious East Oakland digs, it was on a weekend, which meant there were glistening bowls of beef barbacoa, unspeakably tender and rich, served with handmade tortillas still hot off the griddle—a luxury I’d nearly forgotten about after a year of takeout.\u003c/p>\n\u003cfigure id=\"attachment_13907215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/WhataChicken-800x600.jpg\" alt=\"A man in a flannel and hat tends to chicken on a grill on an overcast day\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What a Chicken’s outdoor grill, seen here at the Santa Rosa Flea Market. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>7. Char-grilled chicken at What a Chicken\u003c/b>\u003c/h4>\n\u003cp>\u003ci>706 E. Washington St., Petaluma\u003c/i>\u003c/p>\n\u003cp>A quick pit stop on the way home from a little weekend Sonoma County getaway wound up being the best meal of the whole trip: \u003ca href=\"https://www.instagram.com/whatachicken_petaluma/?hl=en\">What a Chicken’s\u003c/a> spatchcocked, char-grilled birds were devastatingly juicy and full-flavored, and the pork ribs were just as good—a triumph of slow, careful cooking. Add rice, salsa and excellent, piping-hot tortillas, and you have yourself the ideal family-style meal.\u003c/p>\n\u003cfigure id=\"attachment_13907201\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13907201 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-scaled.jpg\" alt=\"Sliced gyro meat next to a pool of yogurt in an aluminum takeout container.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/richmond-kebab_iskender_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Richmond Kebab’s iskender kebab is a textural delight. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>8. Iskender kebab at Richmond Kebab & Gyros\u003c/b>\u003c/h4>\n\u003cp>\u003ci>15501 San Pablo Ave. Ste. J, Richmond\u003c/i>\u003c/p>\n\u003cp>Somehow I’ve lived in Richmond for four years and never knew the city was home to some of the tastiest kebabs this side of Fremont. This unobtrusive strip mall kebab shop features a habit-forming red pepper sauce and the most exquisitely tender, flavorful chicken. But the star of the menu is the Turkish-style iskender kebab: gyro meat sliced thin, slathered with tomato sauce and re-crisped, then served on a bed of crispy diced potatoes—a textural delight—with a pool of yogurt on the side.\u003c/p>\n\u003cfigure id=\"attachment_13904851\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904851\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-scaled.jpg\" alt=\"Meat and vegetables sizzling on a hot flat-top grill.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/010_SanJose_JubbaSomaliRestaurant_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">One of the signature dishes at Jubba, in San Jose, is the beef suqaar, a kind of Somali stir-fry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>9. Roasted Goat Cutlet Plate at Jubba Restaurant\u003c/b>\u003c/h4>\n\u003cp>\u003ci>5330 Terner Way, San Jose\u003c/i>\u003c/p>\n\u003cp>If I lived in San Jose, I would order the goat plate at Jubba, the Bay Area’s only Somali Restaurant, at least once a week. Like so many of the restaurant’s dishes, it’s presented as a stir-fry, essentially: tender, well-charred chunks of goat meat tossed in a tangy, tamarind-based sauce, with caramelized onions, bell peppers and—to my surprise and delight—water chestnuts and baby corn, which I’d previously only encountered in Asian food. Get it with the immaculately seasoned herbed rice and save a little bit of everything for leftovers. Somehow everything tastes even better the next day.\u003c/p>\n\u003cfigure id=\"attachment_13907202\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-scaled.jpg\" alt=\"A spread of raw meat and seafood next to a Japanese-style tabletop charcoal grill. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/fish-and-bird_yakiniku_LT-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The outdoor yakiniku setup at Fish & Bird. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003cb>10. Yakiniku at Fish & Bird\u003c/b>\u003c/h4>\n\u003cp>\u003ci>2451 Shattuck Ave., Berkeley\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My most spur-of-the-moment splurge meal of the year came on a recent chilly evening in Berkeley, when a group of us decided to spring for \u003ca href=\"https://fishbirdizakaya.com/\">Fish & Bird’s\u003c/a> yakiniku set, which costs $75 a person and is best ordered with at least a half hour advance notice so the staff has time to adequately heat up the binchotan charcoal for their traditional Japanese tabletop grills. Out on the sidewalk in front of the restaurant, we grilled spot prawns, perfectly plump scallops, beef tongue and—the peak of luxury—richly marbled slices of A5 wagyu rib cap, which only needed the slightest kiss of the flame before we dipped them in salt and sesame oil. We slathered onigiri in yakiniku sauce and slowly turned them on the grill until their outsides were charred and crispy. If there’s a more festive, thoroughly enjoyable outdoor meal to be had during these pandemic times, I haven’t found it yet.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907197/best-dishes-bay-area-2021","authors":["11743"],"categories":["arts_1","arts_12276"],"tags":["arts_16311","arts_1331","arts_10342","arts_10278","arts_1297","arts_14401"],"featImg":"arts_13904870","label":"source_arts_13907197"},"arts_13906683":{"type":"posts","id":"arts_13906683","meta":{"index":"posts_1591205157","site":"arts","id":"13906683","score":null,"sort":[1639156176000]},"guestAuthors":[],"slug":"i-left-my-pod-for-this-your-stories-of-re-entering-the-world-in-2021","title":"I Left My Pod For This: Your Stories of Re-Entering the World in 2021","publishDate":1639156176,"format":"standard","headTitle":"I Left My Pod For This: Your Stories of Re-Entering the World in 2021 | KQED","labelTerm":{},"content":"\u003cp>Looking back over the last 12 months, it’s hard to find many discernible features of 2021 that extend beyond the ongoing fight against COVID-19. The fear and unknowns of 2020 subsided with the release of vaccines—but relief was short-lived because of the emergence of the delta, and more recently, the omicron variant.\u003c/p>\n\u003cp>[aside postid='arts_13906845']Still, 2021 was undoubtedly the year that people began to emerge from their pods again, as bars, theaters and restaurants reopened (albeit with vaccine mandates and mask rules). It was the year that we cautiously found our way back to one another, tip-toeing into each other’s dining rooms, buying our first concert tickets in well over a year, and reacquainting ourselves with our beloved, long-lost bartenders.\u003c/p>\n\u003cp>For me, the greatest thrill came in October: seeing \u003ca href=\"https://www.youtube.com/watch?v=wMehItNQKAA\" target=\"_blank\" rel=\"noopener noreferrer\">Idles\u003c/a> at the Warfield. The seething and primal sounds of their albums \u003cem>Brutalism\u003c/em> and \u003cem>Joy as an Act of Resistance \u003c/em>had almost single-handedly kept me sane during the long months of shelter in place. In the pandemic, Idles became my therapy \u003cem>and\u003c/em> my meditation. So being in the same room as the band; hearing these songs live for the very first time; surrendering in a sea of raging bodies, was a surreal and supremely emotional experience. I didn’t know whether to stomp or cry—so I did both.\u003c/p>\n\u003cp>It was that experience that inspired us at KQED Arts & Culture to ask you, the readers, what it was that finally pried you out of your COVID pods and back into the world in 2021. Your responses reflected both the joys of reconnecting with people, and the trepidation of doing so mid-pandemic. Here’s what you told us.\u003c/p>\n\u003ch2>Live Music\u003c/h2>\n\u003cfigure id=\"attachment_13899160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899160\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Sunami.MAIN_.jpg\" alt=\"Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The announcement that some local music venues would require proof of vaccination is what finally pushed me and my wife out of the house. We bought tickets to see Andrew St. James, Zelma Stone and French Cassette at \u003ca href=\"https://thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a>. We told ourselves if we were just the least bit uncomfortable, we’d walk out. But any anxiety quickly faded once inside, and we felt reassured by Chapel staff’s gracious yet diligent enforcement of COVID-related protocols. For the most part, the audience seemed to share this sense of responsibility and there wasn’t any behavior to give us pause. We had such an incredible time, we went out to see another show at \u003ca href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Makeout Room\u003c/a> a week later. We’re still being uber-cautious, but have gradually expanded our activities. We’ve been inside at restaurants and bars a few times, and have more live music shows ahead of us.” — \u003cem>Mark Barbeau, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906688 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Screen-Shot-2021-12-01-at-1.20.27-PM-800x1008.png\" alt=\"\" width=\"800\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-01-at-1.20.27-PM-800x1008.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-01-at-1.20.27-PM-160x202.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-01-at-1.20.27-PM-768x968.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-01-at-1.20.27-PM.png 944w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“My partner and I attended a California Symphony performance, \u003ca href=\"https://www.smuinballet.org/events/the-christmas-ballet/\" target=\"_blank\" rel=\"noopener noreferrer\">Smuin’s Christmas Ballet\u003c/a>, and a performance of Wintertime at the Berkeley Rep. Finally! It was all terrific. It was wonderful seeing and being with folks we hadn’t seen in a while.” — \u003cem>Mark J. Powers, San Ramon\u003c/em>\u003c/p>\n\u003ch2>Dancing\u003c/h2>\n\u003cfigure id=\"attachment_13903423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5135.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After 30+ years of marching in the San Francisco St. Patrick’s Day parade personally, and with four generations of my family before me having marched, there was definitely a void in 2020 when the SF parade was canceled. One year later, we knew we had to do something to share our Irish spirit and pride with the community! Wearing our green, the \u003ca href=\"https://healyirishdancers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Healy School of Irish Dance\u003c/a> set out to march down Magnolia in Larkspur to lift the spirits of whomever was lucky enough to be out and Irish that day! It was truly a breath of fresh air to be in person and performing with our dancers. It was rejuvenating and uplifting to bring cheer to so many bystanders who enjoyed our spontaneous performances throughout our mini route.” — Alisa Belew, Larkspur\u003c/p>\n\u003cp>“During Pride weekend, I danced at some Castro nightclub surrounded by perspiring men who stripped their masks and shirts off with the same abandon. Despite my vaccination there were simply too many people in close proximity. I quickly masked up and continued wiggling on the dance floor, careful to distance myself from the laboriously breathing mouths. Since that night, I’ve avoided crowded events—save for a couple of outdoor protests. My pod fluctuates among the vaccinated who enjoy outdoor activities and quiet dinners. But the silent alarm of omicron is steadily creeping upon my senses—I’ll keep my mask on.” — \u003cem>Justin Ebrahemi, San Francisco\u003c/em>\u003c/p>\n\u003ch2>Going Back to Work\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906702 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-800x533.jpg\" alt=\"A bartender wearing black sleeveless denim jacket pours out a cocktail.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“I was forced to go back to work because we need money to survive.” — \u003cem>Julia Brooks, Brisbane\u003c/em>\u003c/p>\n\u003cp>“I’m a bartender at \u003ca href=\"https://www.zeitgeistsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zeitgeist\u003c/a> and in the ‘before times,’ I do recall having to shut people down when they were sitting at the bar Facetiming hella loud. But after 2020, people seemed to be even less aware of their general surroundings. Reopening definitely had people on their phones more. I remember a few weeks [into reopening], this lady and her baby in a stroller just wandered into the beer garden. She walked right past the sign that said ‘Please wait to be seated.’ After she’d done one lap of the yard, I said ‘Excuse me! Can I help you?’ Because I thought maybe she was just looking to join someone she knew already there. She holds up her phone like, ‘Oh it’s OK, I’m just showing my followers.’ I had to step in front of her and say ‘You either have to stay as a customer and let me check you in like everyone else, or please leave and stop live streaming.’ She laughed and pointed the phone at me as she walked out. Working at a bar mid-pandemic, my zen game had to get pretty tight.” — \u003cem>Nathan McDaniel, San Francisco\u003c/em>\u003c/p>\n\u003ch2>Performing\u003c/h2>\n\u003cfigure id=\"attachment_13896010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1536x1087.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1920x1358.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez stars in Oakland Theater Project’s The Waste Land. \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Getting back to performing at \u003ca href=\"https://bazaarcafe.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bazaar Cafe\u003c/a>‘s open mic once that started up again. Performing over a Zoom call is just not the same as actually being able to make eye contact with a real audience so you can gage their reaction to what you’re doing. Actual applause is also nice.” — \u003cem>\u003ca href=\"http://www.duckswithpants.com/\" target=\"_blank\" rel=\"noopener noreferrer\">E.G. Phillips\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>“It was a collage of experiences with deejaying in public again. I remember playing at the \u003ca href=\"https://www.calacademy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Academy of Sciences\u003c/a> and getting a round of applause at the end of my set. And also being compelled to say a few words before another night of DJing, thanking everyone there. Also, there was that one weekend where people felt free—July 4th. I was in L.A. and just remember not feeling sure on what to play but getting the biggest reactions from songs I wouldn’t think would work.” — \u003cem>\u003ca href=\"https://soundcloud.com/kingmost\" target=\"_blank\" rel=\"noopener noreferrer\">King Most\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13893070']“Performing at Stern Grove [with \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a>] def felt like a re-emergence. That was the first time the band was back on stage in front of an audience since we played our album release party, February 2020. I remember the first time hearing the crowd cheer after the end of a song that day. Chills, and it almost brought me to tears.” — \u003cem>Kumar Butler, Oakland\u003c/em>\u003c/p>\n\u003cp>“Performing live in front of an audience at [Woodside cultural center] \u003ca href=\"https://filoli.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Filoli\u003c/a> a few weeks back. Suddenly, it felt like things were opening up again and that we’re getting back on track!” — \u003cem>James Lanman, San Francisco\u003c/em>\u003c/p>\n\u003cp>“My full-time job is singing and playing guitar in a cover band called \u003ca href=\"https://www.roxygunnproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Roxy Gunn Project\u003c/a>. Our very first gig back was super weird. We’d been streaming for over a year and just playing in my living room in front of a camera. All of sudden we were in front of nearly one hundred people who weren’t allowed, at that time, to dance, cheer, or sing along. They could clap if they wanted but that was it. It was quite a sight! Not to mention we had to essentially relearn how to perform for an audience again. I would be lying if I said I wasn’t winded after the first two songs.” — \u003cem>Roxy Gunn, Las Vegas\u003c/em>\u003c/p>\n\u003ch2>Still Waiting…\u003c/h2>\n\u003cfigure id=\"attachment_13878261\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13878261\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Thao.Zoom_-800x450.jpg\" alt=\"Thao and the Get Down Stay Down's new video was shot entirely on Zoom.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Thao.Zoom_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Thao.Zoom_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Thao.Zoom_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Thao.Zoom_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Thao.Zoom_.jpg 1666w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thao and the Get Down Stay Down’s music video for “Phenom” was shot entirely on Zoom. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Transplant recipients like me are still in our pods. I’m 53 and I had a kidney transplant 14 years ago. Transplant drugs increase the risk for contracting illnesses—it’s possible to be hospitalized for something like food poisoning. I’ve had three full doses of the vaccine, which they hope will bring up my immune response closer to the average person’s response with two doses. Since the start of the pandemic we’ve had everything delivered. We stopped eating out completely, including no take out. We only do outdoor activities, even with vaccinated family and friends. I miss simple things like hanging out with my kid without anyone taking a C19 test, museums, open studio events, concerts, wandering the aisles of Trader Joe’s for snacks, and having coffee indoors with friends. I’ve adjusted to outdoor art events, attending online art lectures and workshops, coffee in the park, and watching live streams of our son’s performances—but I don’t know when life will shift for my little family. I’ve been doing risk assessment for 14 years since my transplant, wearing masks when needed, washing my hands all the time. But now feeling isolated and left behind by the world—feeling the threat of other people’s ignorance—is taking its toll. ‘Return to the world’ is a long ways away.” — \u003cem>Sarah Logan, East Bay\u003c/em>\u003c/p>\n\u003cp>“What are we acting like the pandemic is over?! It’s still in full swing last time I checked…” — @melancholera, Instagram\u003c/p>\n\u003ch2>Personal Commitments\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906701 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/md-duran-1VqHRwxcCCw-unsplash-800x533.jpg\" alt=\"A woman wearing a cap and gown, viewed from behind, looking onwards to her graduating classmates.\" width=\"800\" height=\"533\">\u003c/p>\n\u003cp>“The first time I was in a large crowd of people was in June of 2021 at my college graduation at the University of Oregon. Things had to be changed such as the ceremony was moved outdoors instead of inside our basketball arena like it always is. There was a mask requirement and, being college students, not a lot of people followed it. But it was still super nice to have an in-person ceremony of some sort.” — \u003cem>Ashley Ng, Danville\u003c/em>\u003c/p>\n\u003cp>“I joined a fitness center that held its classes outdoors. When we were finally able to workout indoors, it was like ‘Wow! We can be inside together!’ It felt hopeful, like things were getting better. I recently let down my guard (i.e. my mask) to eat inside my home with a good friend. Now with the new virus, I will not do that again.” — \u003cem>Julie Twichell, Berkeley\u003c/em>\u003c/p>\n\u003cp>“When I flew home to NYC to visit my family at the end of July, I was cautiously excited. Ironically, I am more nervous about my visit at end of the year, despite being boostered.” — \u003cem>Vicki Shu, Oakland\u003c/em>\u003c/p>\n\u003ch2>Getting Creative\u003c/h2>\n\u003cfigure id=\"attachment_13905969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren D’Amato and Isaac Vazquez Avila of Avila Rose Signs add gilding to Incline Gallery’s window in preparation for the reopening. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being an artist, seeing exhibits was the best way for me to come back into the world. After my second shot, being a senior and getting vaccinated earlier, in April I went to the \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Immersive van Gogh experience\u003c/a>. Surrounded in beauty inspired two solid weeks of studio work.” — \u003cem>Denys Adida, Oakland\u003c/em>\u003c/p>\n\u003cp>“Gallery openings and artist talks!” — \u003cem>Max Blue, San Francisco\u003c/em>\u003c/p>\n\u003cp>“I wrote a book entitled, \u003cem>Travels With An Artist\u003c/em>. It is the story of my pioneer Alaskan family as well as incidents of my very exciting life as an artist, anecdotes from experiences and ending with my the way I managed COVID. The last year was hard but I hope for a better year ahead.” — \u003cem>Helen Ann Licht, Berkeley\u003c/em>\u003c/p>\n\u003ch2>Hitting the Movies\u003c/h2>\n\u003cfigure id=\"attachment_13872204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872204\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GrandLake-FredDunn-800x534.jpg\" alt=\"Oakland's Grand Lake Theater as captured in "Sights of Northern California."\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GrandLake-FredDunn-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GrandLake-FredDunn-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GrandLake-FredDunn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GrandLake-FredDunn-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GrandLake-FredDunn.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Grand Lake Theater as captured in “Sights of Northern California.” \u003ccite>(Fred Dunn / CC BY-NC 2.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I got to see \u003cem>Rocky Horror\u003c/em> for the first time in the theater this year! For Pride! In costume! With everything these past two years it was such a pleasure. And now a tradition—I’ve started going to the Balboa Theatre the last Saturday of each month to watch \u003ca href=\"https://bawdycaste.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Bawdy Caste\u003c/a>.” — \u003cem>Shaylyn Martos, Oakland\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13902724']“The first time I felt some normalcy returning to the world was when I went to the movies in person to see \u003ca href=\"https://www.kqed.org/arts/13902470/shang-chi-bus-fight-chase-muni-chinatown-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em>\u003c/a>. The last time that I saw a film in person was in March 2020 at the DisOrient Asian American Film Festival in Eugene, OR. I thought it was very important to support Asian representation on the big screen, since there were very few role models that looked like me on the big screen or TV when I was growing up here in the Bay Area. It was wonderful to do something together as a family outside the house.” — \u003cem>Susie Willemsz-Geeroms, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m a big fan of seeing movies in the theater. It can make a mediocre movie into a memorable night, and it was the biggest social casualty for me during the pandemic. It was a year and six months, almost to the day, between my last pre-pandemic movie and the one that got me back in theaters. A lovely friend surprised me with a movie ticket and refreshments for my birthday this summer, and even though I was hesitant, I dove back in. It was like pulling your favorite blanket out of the closet in the fall; like melting into your favorite chair; like putting on your favorite album. Those two hours made me remember what life was like pre-pandemic. And it made me hopeful that someday we can return to normalcy.” — \u003cem>Joe Dissolvo, Baltimore\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"COVID be damned, in 2021 we started tip-toeing back out and reacquainting ourselves with things we once took for granted.","status":"publish","parent":0,"modified":1705007399,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":2459},"headData":{"title":"I Left My Pod For This: Your Stories of Re-Entering the World in 2021 | KQED","description":"COVID be damned, in 2021 we started tip-toeing back out and reacquainting ourselves with things we once took for granted.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"I Left My Pod For This: Your Stories of Re-Entering the World in 2021","datePublished":"2021-12-10T17:09:36.000Z","dateModified":"2024-01-11T21:09:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2021 recapped","sourceUrl":"https://www.kqed.org/arts/tag/2021-recapped","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13906683/i-left-my-pod-for-this-your-stories-of-re-entering-the-world-in-2021","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back over the last 12 months, it’s hard to find many discernible features of 2021 that extend beyond the ongoing fight against COVID-19. The fear and unknowns of 2020 subsided with the release of vaccines—but relief was short-lived because of the emergence of the delta, and more recently, the omicron variant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13906845","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Still, 2021 was undoubtedly the year that people began to emerge from their pods again, as bars, theaters and restaurants reopened (albeit with vaccine mandates and mask rules). It was the year that we cautiously found our way back to one another, tip-toeing into each other’s dining rooms, buying our first concert tickets in well over a year, and reacquainting ourselves with our beloved, long-lost bartenders.\u003c/p>\n\u003cp>For me, the greatest thrill came in October: seeing \u003ca href=\"https://www.youtube.com/watch?v=wMehItNQKAA\" target=\"_blank\" rel=\"noopener noreferrer\">Idles\u003c/a> at the Warfield. The seething and primal sounds of their albums \u003cem>Brutalism\u003c/em> and \u003cem>Joy as an Act of Resistance \u003c/em>had almost single-handedly kept me sane during the long months of shelter in place. In the pandemic, Idles became my therapy \u003cem>and\u003c/em> my meditation. So being in the same room as the band; hearing these songs live for the very first time; surrendering in a sea of raging bodies, was a surreal and supremely emotional experience. I didn’t know whether to stomp or cry—so I did both.\u003c/p>\n\u003cp>It was that experience that inspired us at KQED Arts & Culture to ask you, the readers, what it was that finally pried you out of your COVID pods and back into the world in 2021. Your responses reflected both the joys of reconnecting with people, and the trepidation of doing so mid-pandemic. Here’s what you told us.\u003c/p>\n\u003ch2>Live Music\u003c/h2>\n\u003cfigure id=\"attachment_13899160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899160\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Sunami.MAIN_.jpg\" alt=\"Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The announcement that some local music venues would require proof of vaccination is what finally pushed me and my wife out of the house. We bought tickets to see Andrew St. James, Zelma Stone and French Cassette at \u003ca href=\"https://thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a>. We told ourselves if we were just the least bit uncomfortable, we’d walk out. But any anxiety quickly faded once inside, and we felt reassured by Chapel staff’s gracious yet diligent enforcement of COVID-related protocols. For the most part, the audience seemed to share this sense of responsibility and there wasn’t any behavior to give us pause. We had such an incredible time, we went out to see another show at \u003ca href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Makeout Room\u003c/a> a week later. We’re still being uber-cautious, but have gradually expanded our activities. We’ve been inside at restaurants and bars a few times, and have more live music shows ahead of us.” — \u003cem>Mark Barbeau, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906688 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Screen-Shot-2021-12-01-at-1.20.27-PM-800x1008.png\" alt=\"\" width=\"800\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-01-at-1.20.27-PM-800x1008.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-01-at-1.20.27-PM-160x202.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-01-at-1.20.27-PM-768x968.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-01-at-1.20.27-PM.png 944w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“My partner and I attended a California Symphony performance, \u003ca href=\"https://www.smuinballet.org/events/the-christmas-ballet/\" target=\"_blank\" rel=\"noopener noreferrer\">Smuin’s Christmas Ballet\u003c/a>, and a performance of Wintertime at the Berkeley Rep. Finally! It was all terrific. It was wonderful seeing and being with folks we hadn’t seen in a while.” — \u003cem>Mark J. Powers, San Ramon\u003c/em>\u003c/p>\n\u003ch2>Dancing\u003c/h2>\n\u003cfigure id=\"attachment_13903423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5135.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After 30+ years of marching in the San Francisco St. Patrick’s Day parade personally, and with four generations of my family before me having marched, there was definitely a void in 2020 when the SF parade was canceled. One year later, we knew we had to do something to share our Irish spirit and pride with the community! Wearing our green, the \u003ca href=\"https://healyirishdancers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Healy School of Irish Dance\u003c/a> set out to march down Magnolia in Larkspur to lift the spirits of whomever was lucky enough to be out and Irish that day! It was truly a breath of fresh air to be in person and performing with our dancers. It was rejuvenating and uplifting to bring cheer to so many bystanders who enjoyed our spontaneous performances throughout our mini route.” — Alisa Belew, Larkspur\u003c/p>\n\u003cp>“During Pride weekend, I danced at some Castro nightclub surrounded by perspiring men who stripped their masks and shirts off with the same abandon. Despite my vaccination there were simply too many people in close proximity. I quickly masked up and continued wiggling on the dance floor, careful to distance myself from the laboriously breathing mouths. Since that night, I’ve avoided crowded events—save for a couple of outdoor protests. My pod fluctuates among the vaccinated who enjoy outdoor activities and quiet dinners. But the silent alarm of omicron is steadily creeping upon my senses—I’ll keep my mask on.” — \u003cem>Justin Ebrahemi, San Francisco\u003c/em>\u003c/p>\n\u003ch2>Going Back to Work\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906702 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-800x533.jpg\" alt=\"A bartender wearing black sleeveless denim jacket pours out a cocktail.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/artem-pochepetsky-YIUawXx7xm0-unsplash-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“I was forced to go back to work because we need money to survive.” — \u003cem>Julia Brooks, Brisbane\u003c/em>\u003c/p>\n\u003cp>“I’m a bartender at \u003ca href=\"https://www.zeitgeistsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zeitgeist\u003c/a> and in the ‘before times,’ I do recall having to shut people down when they were sitting at the bar Facetiming hella loud. But after 2020, people seemed to be even less aware of their general surroundings. Reopening definitely had people on their phones more. I remember a few weeks [into reopening], this lady and her baby in a stroller just wandered into the beer garden. She walked right past the sign that said ‘Please wait to be seated.’ After she’d done one lap of the yard, I said ‘Excuse me! Can I help you?’ Because I thought maybe she was just looking to join someone she knew already there. She holds up her phone like, ‘Oh it’s OK, I’m just showing my followers.’ I had to step in front of her and say ‘You either have to stay as a customer and let me check you in like everyone else, or please leave and stop live streaming.’ She laughed and pointed the phone at me as she walked out. Working at a bar mid-pandemic, my zen game had to get pretty tight.” — \u003cem>Nathan McDaniel, San Francisco\u003c/em>\u003c/p>\n\u003ch2>Performing\u003c/h2>\n\u003cfigure id=\"attachment_13896010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1536x1087.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1920x1358.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez stars in Oakland Theater Project’s The Waste Land. \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Getting back to performing at \u003ca href=\"https://bazaarcafe.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bazaar Cafe\u003c/a>‘s open mic once that started up again. Performing over a Zoom call is just not the same as actually being able to make eye contact with a real audience so you can gage their reaction to what you’re doing. Actual applause is also nice.” — \u003cem>\u003ca href=\"http://www.duckswithpants.com/\" target=\"_blank\" rel=\"noopener noreferrer\">E.G. Phillips\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>“It was a collage of experiences with deejaying in public again. I remember playing at the \u003ca href=\"https://www.calacademy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Academy of Sciences\u003c/a> and getting a round of applause at the end of my set. And also being compelled to say a few words before another night of DJing, thanking everyone there. Also, there was that one weekend where people felt free—July 4th. I was in L.A. and just remember not feeling sure on what to play but getting the biggest reactions from songs I wouldn’t think would work.” — \u003cem>\u003ca href=\"https://soundcloud.com/kingmost\" target=\"_blank\" rel=\"noopener noreferrer\">King Most\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13893070","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Performing at Stern Grove [with \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a>] def felt like a re-emergence. That was the first time the band was back on stage in front of an audience since we played our album release party, February 2020. I remember the first time hearing the crowd cheer after the end of a song that day. Chills, and it almost brought me to tears.” — \u003cem>Kumar Butler, Oakland\u003c/em>\u003c/p>\n\u003cp>“Performing live in front of an audience at [Woodside cultural center] \u003ca href=\"https://filoli.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Filoli\u003c/a> a few weeks back. Suddenly, it felt like things were opening up again and that we’re getting back on track!” — \u003cem>James Lanman, San Francisco\u003c/em>\u003c/p>\n\u003cp>“My full-time job is singing and playing guitar in a cover band called \u003ca href=\"https://www.roxygunnproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Roxy Gunn Project\u003c/a>. Our very first gig back was super weird. We’d been streaming for over a year and just playing in my living room in front of a camera. All of sudden we were in front of nearly one hundred people who weren’t allowed, at that time, to dance, cheer, or sing along. They could clap if they wanted but that was it. It was quite a sight! Not to mention we had to essentially relearn how to perform for an audience again. I would be lying if I said I wasn’t winded after the first two songs.” — \u003cem>Roxy Gunn, Las Vegas\u003c/em>\u003c/p>\n\u003ch2>Still Waiting…\u003c/h2>\n\u003cfigure id=\"attachment_13878261\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13878261\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Thao.Zoom_-800x450.jpg\" alt=\"Thao and the Get Down Stay Down's new video was shot entirely on Zoom.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Thao.Zoom_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Thao.Zoom_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Thao.Zoom_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Thao.Zoom_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Thao.Zoom_.jpg 1666w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thao and the Get Down Stay Down’s music video for “Phenom” was shot entirely on Zoom. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Transplant recipients like me are still in our pods. I’m 53 and I had a kidney transplant 14 years ago. Transplant drugs increase the risk for contracting illnesses—it’s possible to be hospitalized for something like food poisoning. I’ve had three full doses of the vaccine, which they hope will bring up my immune response closer to the average person’s response with two doses. Since the start of the pandemic we’ve had everything delivered. We stopped eating out completely, including no take out. We only do outdoor activities, even with vaccinated family and friends. I miss simple things like hanging out with my kid without anyone taking a C19 test, museums, open studio events, concerts, wandering the aisles of Trader Joe’s for snacks, and having coffee indoors with friends. I’ve adjusted to outdoor art events, attending online art lectures and workshops, coffee in the park, and watching live streams of our son’s performances—but I don’t know when life will shift for my little family. I’ve been doing risk assessment for 14 years since my transplant, wearing masks when needed, washing my hands all the time. But now feeling isolated and left behind by the world—feeling the threat of other people’s ignorance—is taking its toll. ‘Return to the world’ is a long ways away.” — \u003cem>Sarah Logan, East Bay\u003c/em>\u003c/p>\n\u003cp>“What are we acting like the pandemic is over?! It’s still in full swing last time I checked…” — @melancholera, Instagram\u003c/p>\n\u003ch2>Personal Commitments\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906701 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/md-duran-1VqHRwxcCCw-unsplash-800x533.jpg\" alt=\"A woman wearing a cap and gown, viewed from behind, looking onwards to her graduating classmates.\" width=\"800\" height=\"533\">\u003c/p>\n\u003cp>“The first time I was in a large crowd of people was in June of 2021 at my college graduation at the University of Oregon. Things had to be changed such as the ceremony was moved outdoors instead of inside our basketball arena like it always is. There was a mask requirement and, being college students, not a lot of people followed it. But it was still super nice to have an in-person ceremony of some sort.” — \u003cem>Ashley Ng, Danville\u003c/em>\u003c/p>\n\u003cp>“I joined a fitness center that held its classes outdoors. When we were finally able to workout indoors, it was like ‘Wow! We can be inside together!’ It felt hopeful, like things were getting better. I recently let down my guard (i.e. my mask) to eat inside my home with a good friend. Now with the new virus, I will not do that again.” — \u003cem>Julie Twichell, Berkeley\u003c/em>\u003c/p>\n\u003cp>“When I flew home to NYC to visit my family at the end of July, I was cautiously excited. Ironically, I am more nervous about my visit at end of the year, despite being boostered.” — \u003cem>Vicki Shu, Oakland\u003c/em>\u003c/p>\n\u003ch2>Getting Creative\u003c/h2>\n\u003cfigure id=\"attachment_13905969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/KQED_Incline_Gallery_web17_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren D’Amato and Isaac Vazquez Avila of Avila Rose Signs add gilding to Incline Gallery’s window in preparation for the reopening. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being an artist, seeing exhibits was the best way for me to come back into the world. After my second shot, being a senior and getting vaccinated earlier, in April I went to the \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Immersive van Gogh experience\u003c/a>. Surrounded in beauty inspired two solid weeks of studio work.” — \u003cem>Denys Adida, Oakland\u003c/em>\u003c/p>\n\u003cp>“Gallery openings and artist talks!” — \u003cem>Max Blue, San Francisco\u003c/em>\u003c/p>\n\u003cp>“I wrote a book entitled, \u003cem>Travels With An Artist\u003c/em>. It is the story of my pioneer Alaskan family as well as incidents of my very exciting life as an artist, anecdotes from experiences and ending with my the way I managed COVID. The last year was hard but I hope for a better year ahead.” — \u003cem>Helen Ann Licht, Berkeley\u003c/em>\u003c/p>\n\u003ch2>Hitting the Movies\u003c/h2>\n\u003cfigure id=\"attachment_13872204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872204\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GrandLake-FredDunn-800x534.jpg\" alt=\"Oakland's Grand Lake Theater as captured in "Sights of Northern California."\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GrandLake-FredDunn-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GrandLake-FredDunn-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GrandLake-FredDunn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GrandLake-FredDunn-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GrandLake-FredDunn.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Grand Lake Theater as captured in “Sights of Northern California.” \u003ccite>(Fred Dunn / CC BY-NC 2.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I got to see \u003cem>Rocky Horror\u003c/em> for the first time in the theater this year! For Pride! In costume! With everything these past two years it was such a pleasure. And now a tradition—I’ve started going to the Balboa Theatre the last Saturday of each month to watch \u003ca href=\"https://bawdycaste.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Bawdy Caste\u003c/a>.” — \u003cem>Shaylyn Martos, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13902724","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“The first time I felt some normalcy returning to the world was when I went to the movies in person to see \u003ca href=\"https://www.kqed.org/arts/13902470/shang-chi-bus-fight-chase-muni-chinatown-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em>\u003c/a>. The last time that I saw a film in person was in March 2020 at the DisOrient Asian American Film Festival in Eugene, OR. I thought it was very important to support Asian representation on the big screen, since there were very few role models that looked like me on the big screen or TV when I was growing up here in the Bay Area. It was wonderful to do something together as a family outside the house.” — \u003cem>Susie Willemsz-Geeroms, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m a big fan of seeing movies in the theater. It can make a mediocre movie into a memorable night, and it was the biggest social casualty for me during the pandemic. It was a year and six months, almost to the day, between my last pre-pandemic movie and the one that got me back in theaters. A lovely friend surprised me with a movie ticket and refreshments for my birthday this summer, and even though I was hesitant, I dove back in. It was like pulling your favorite blanket out of the closet in the fall; like melting into your favorite chair; like putting on your favorite album. Those two hours made me remember what life was like pre-pandemic. And it made me hopeful that someday we can return to normalcy.” — \u003cem>Joe Dissolvo, Baltimore\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13906683/i-left-my-pod-for-this-your-stories-of-re-entering-the-world-in-2021","authors":["11242"],"categories":["arts_1","arts_11615","arts_75"],"tags":["arts_16311","arts_10127","arts_10278","arts_10416"],"featImg":"arts_13902902","label":"source_arts_13906683"},"arts_13907013":{"type":"posts","id":"arts_13907013","meta":{"index":"posts_1591205157","site":"arts","id":"13907013","score":null,"sort":[1639081463000]},"guestAuthors":[],"slug":"bay-area-books-best-2021","title":"Nine Bay Area Books from 2021 to Celebrate our Survival","publishDate":1639081463,"format":"standard","headTitle":"Nine Bay Area Books from 2021 to Celebrate our Survival | KQED","labelTerm":{},"content":"\u003cp>It was the best of times, it was the worst of times. It was a year like no other, and yet, at times, it seemed quite humdrum. Pre-vaccine. Post-nothing. Often more distant than social.\u003c/p>\n\u003cp>But hey, at least we had books.\u003c/p>\n\u003cp>In 2021, Bay Area authors helped us to survive another year of pandemic with their imaginations, heart, and vitality. Although quite different in form and content, what the books on this list have in common is a personable, often joyous connection with the reader. To read any one of them is like inviting a good friend over for a drink and having one of those great, expansive conversations you never want to end.\u003c/p>\n\u003cp>Invite these books into your home, and reopen yourself to an as-yet-unwritten future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg\" alt=\"\" width=\"600\" height=\"902\" class=\"aligncenter size-full wp-image-13907111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000-160x241.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.fsgoriginals.com/books/100-boyfriends-1690eec1-f827-4e41-b862-63ac5d919886\">100 Boyfriends\u003c/a>,’ by Brontez Purnell\u003c/h2>\n\u003cp>These lusty, interconnected shorts elaborate on themes that have frequently punctuated Purnell’s work: his Southern upbringing, his punk rock resume of crap jobs and warehouse living, his exuberant sexual anarchy. \u003cem>100 Boyfriends\u003c/em> (FSG Originals, $15) is a voyeuristic joyride through a libidinous landscape of lovers, many of whom bear droll monikers such as “Boyfriend 007,” “Boyfriend 2.0” “Boyfriend 666 (the Satanist).” But beyond a litany of amorous misadventure told by multiple narrators, Purnell celebrates the chaotic margins of the Bay Area and beyond, while still leaving room for moments of tenderness, introspection, and even grief—providing a welcome antidote to a prevalent narrative that the Bay Area has lost its freaky edge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg\" alt=\"\" width=\"600\" height=\"890\" class=\"aligncenter size-full wp-image-13907105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.blackfreighterpress.com/catalog/p/baby-axolotls-y-old-pochos\">Baby Axolotls y Old Pochos\u003c/a>,’ by Josiah Luis Alderete\u003c/h2>\n\u003cp>It’s been a pretty big year for Josiah Luis Alderete. First, the City Lights bookseller published \u003cem>Baby Axolotls y Old Pochos\u003c/em> (Black Freighter Press, $20). And then he went and bought a whole bookstore of his own in the Mission District of San Francisco (Medicine for Nightmares, with J.K. Fowler and Tân Khánh Cao). In his conversational, Spanglish-inflected poetry, Alderate brings to life a tight-knit community surviving with grace under unimaginable pressure. It’s a compassionate recuerdo of family, friends, and identity that straddles many borders—internal and external—and a vivid homage to an increasingly colonized Mission still inhabited by bilinguistas and Pochos, Tías and Tezcatlipoca.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg\" alt=\"\" width=\"600\" height=\"744\" class=\"aligncenter size-full wp-image-13907112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_-160x198.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://citylights.com/poetry/blood-on-the-fog/\">Blood on the Fog\u003c/a>,’ by Tongo Eisen-Martin\u003c/h2>\n\u003cp>To see San Francisco’s eighth poet laureate Tongo Eisen-Martin read is to get a crash course on how poetry can be a wholly embodied artform. Dynamic and assured, Eisen-Martin inhabits the living, breathing margins of his poems sometimes as a warrior, sometimes as a ghost; sometimes an explosion, sometimes as a wisp of smoke. In his third book, \u003cem>Blood in the Fog\u003c/em> (City Lights Books, $15.95), he reveals the layers of a revolutionary experience from the inside out, excavating family histories, fragments of song, Black power and Marxist theory, structural violence and the candor of the street with richly invoked language and intricate form. “I am lucky to be a metaphor for no one,” Eisen-Martin writes. The metaphor resides within.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg\" alt=\"\" width=\"600\" height=\"910\" class=\"aligncenter size-full wp-image-13907106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200-160x243.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://wwnorton.com/books/9780393652666\">Four Lost Cities\u003c/a>,’ by Annalee Newitz\u003c/h2>\n\u003cp>If you’ve read Annalee Newitz’ \u003cem>Scatter, Adapt, and Remember\u003c/em>, you’ve already encountered their theories about how humanity might survive the ongoing Holocene extinction event, including adapting our cities to address climate change and other perils. In \u003cem>Four Lost Cities\u003c/em> (W.W. Norton, $26.95), Newitz revisits the theme of adaptation by positioning the collapse of certain urban environments as a natural part of their evolution. Investigating the demise of four cities—from Çatalhöyük to Cahokia—Newitz looks into their unique cultural and environmental markers in order to determine what external and internal circumstances could lead to their “disappearance.” Captivating and thought-provoking.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"887\" class=\"aligncenter size-full wp-image-13907107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://groveatlantic.com/book/gordo/\">Gordo\u003c/a>,’ by Jaime Cortez\u003c/h2>\n\u003cp>One of the best readings I’ve ever attended was at a LitQuake, perhaps 10 years ago, where I saw Jaime Cortez read “The Jesus Donut”—the story that kicks off the collection of shorts. Ever since, I’ve eagerly awaited this joyous book of short stories centered on a 1970s migrant community in Watsonville. With a loving touch, Cortez imbues his tales with humor, dignity, and heart, frequently (though not exclusively) told through the eyes of a bullied child, called “Gordo” by most. \u003cem>Gordo\u003c/em> (Grove Atlantic, $16) is a wonderfully detailed portrait of a specific time and place that nonetheless feels completely of the moment, and makes for a deeply satisfying read.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg\" alt=\"\" width=\"600\" height=\"900\" class=\"aligncenter size-full wp-image-13907108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9780374602512/inflamed\">Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/a>,’ Rupa Marya and Raj Patel\u003c/h2>\n\u003cp>Physician-musician-activist-author Rupa Marya is a true renaissance person, seemingly capable of taking full part in any discipline or area of expertise. In \u003cem>Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/em> (Macmillan, $30 hardcover; $14.99 ebook), co-written with author Raj Patel, Marya ties the systems of the human body to the systems of the natural world in order to demonstrate how the dire effects of colonization, capitalism, and other human-made oppressive systems affect not only the physical form, but our interconnected well-being. It’s an urgent call from the field of medicine to address the very real racial, gender, and socio-economic inequities built as firmly into “health care” as any other institutional structure in a society where commerce comes before the commons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LastNomad.lg_.jpg\" alt=\"\" width=\"600\" height=\"909\" class=\"aligncenter size-full wp-image-13907113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.workman.com/products/the-last-nomad/hardback\">The Last Nomad: Coming of Age in the Somali Desert\u003c/a>,’ by Shugri Said Salh\u003c/h2>\n\u003cp>In the first line of her stunning memoir, Shugri Said Salh admits that of course she’s not literally the last nomad. But rather, that she’s the last of her family line to have been nomadic—as even her siblings had remained living in cities and villages while Salh spent a good portion of her childhood herding goats across the Somali desert under the watchful eye of her beloved \u003cem>ayeeyo\u003c/em> (Grandmother). In \u003cem>The Last Nomad\u003c/em> (Workman Publishing, $26.95), Salh introduces us to the spare, harsh beauty of the desert and the deeply engrained rituals and traditions that kept her connected to her ancestral paths, until devastating war forced her and her family to flee the country. A clear-eyed, richly-remembered memoir that takes its readers on the journey of a lifetime—from Somalia to Sonoma County.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg\" alt=\"\" width=\"600\" height=\"928\" class=\"aligncenter size-full wp-image-13907109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900-160x247.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9781250800022/neversayyoucantsurvive\">Never Say You Can’t Survive\u003c/a>,’ Charlie Jane Anders\u003c/h2>\n\u003cp>If you, like myself, found yourself in need of gently reassuring pep talk a time or twenty over this past year, then this is the book for you. \u003cem>Never Say You Can’t Survive\u003c/em> (Macmillan $26.99 hardcover; ebook $13.99) is a friendly hug from your writing bestie who came to your coffee date prepared with a bunch of savvy advice and side of life coaching. The longtime chief cat wrangler of reading series Writers With Drinks, and an award-winning fantasy writer, Anders’ personable essays reflect on the life-changing potential good writing—and good writing practice—can have, for readers and writers both. If you’d rather just skip the processing and read her fiction instead, Anders published two other books this year as well: intergalactic YA adventure \u003cem>Victories Greater Than Death,\u003c/em> and short story collection \u003cem>Even Greater Mistakes\u003c/em>. A phenomenal triple-header!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"906\" class=\"aligncenter size-full wp-image-13907110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.harpercollins.com/products/squad-maggie-tokuda-hall?variant=33051647508514\">Squad\u003c/a>,’ by Maggie Tokuda-Hall, illustrated by Lisa Sterle\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you read just one teenage werewolf feminist revenge fantasy this year, make it \u003cem>Squad\u003c/em> (HarperCollins, $14.99), by Maggie Tokuda-Hall—a (literally) ripping yarn about a clique of popular girls who turn into a pack of ravenous, anti-patriarchal wolves during the full moon who feast specifically upon predatory young men. \u003cem>Squad\u003c/em> may be marketed as a YA graphic novel, but it’s honestly for anyone looking for humor and bite; a \u003cem>Mean Girls\u003c/em> for monster maniacs. As Tokuda-Hall’s squad alternate between supporting each other and squabbling over their internal power dynamics, an accidental death too close to home threatens to reveal their murderous secrets. Lisa Sterle’s gorgeously saturated artwork fleshes out their world with vigor and verve.\u003c/p>\n\n","blocks":[],"excerpt":"Books by Tongo Eisen-Martin, Maggie Tokuda-Hall, Shugri Said Salh and others brought comfort and insight this year.","status":"publish","parent":0,"modified":1705007406,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1390},"headData":{"title":"The Best Bay Area Books of 2021 | KQED","description":"Books by Tongo Eisen-Martin, Maggie Tokuda-Hall, Brontez Purnell, Shugri Said Salh and others brought comfort and insight this year.","ogTitle":"Nine Bay Area Books to Celebrate our Survival","ogDescription":"Books by Tongo Eisen-Martin, Maggie Tokuda-Hall, Shugri Said Salh and others brought comfort and insight this year.","ogImgId":"","twTitle":"Nine Bay Area Books to Celebrate our Survival","twDescription":"Books by Tongo Eisen-Martin, Maggie Tokuda-Hall, Shugri Said Salh and others brought comfort and insight this year.","twImgId":"","socialTitle":"The Best Bay Area Books of 2021 %%page%% %%sep%% KQED","socialDescription":"Books by Tongo Eisen-Martin, Maggie Tokuda-Hall, Brontez Purnell, Shugri Said Salh and others brought comfort and insight this year.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Nine Bay Area Books from 2021 to Celebrate our Survival","datePublished":"2021-12-09T20:24:23.000Z","dateModified":"2024-01-11T21:10:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2021 recapped","sourceUrl":"https://www.kqed.org/arts/tag/2021-recapped","sticky":false,"WpOldSlug":"nine-bay-area-books-to-celebrate-our-survival","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13907013/bay-area-books-best-2021","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the best of times, it was the worst of times. It was a year like no other, and yet, at times, it seemed quite humdrum. Pre-vaccine. Post-nothing. Often more distant than social.\u003c/p>\n\u003cp>But hey, at least we had books.\u003c/p>\n\u003cp>In 2021, Bay Area authors helped us to survive another year of pandemic with their imaginations, heart, and vitality. Although quite different in form and content, what the books on this list have in common is a personable, often joyous connection with the reader. To read any one of them is like inviting a good friend over for a drink and having one of those great, expansive conversations you never want to end.\u003c/p>\n\u003cp>Invite these books into your home, and reopen yourself to an as-yet-unwritten future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg\" alt=\"\" width=\"600\" height=\"902\" class=\"aligncenter size-full wp-image-13907111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000-160x241.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.fsgoriginals.com/books/100-boyfriends-1690eec1-f827-4e41-b862-63ac5d919886\">100 Boyfriends\u003c/a>,’ by Brontez Purnell\u003c/h2>\n\u003cp>These lusty, interconnected shorts elaborate on themes that have frequently punctuated Purnell’s work: his Southern upbringing, his punk rock resume of crap jobs and warehouse living, his exuberant sexual anarchy. \u003cem>100 Boyfriends\u003c/em> (FSG Originals, $15) is a voyeuristic joyride through a libidinous landscape of lovers, many of whom bear droll monikers such as “Boyfriend 007,” “Boyfriend 2.0” “Boyfriend 666 (the Satanist).” But beyond a litany of amorous misadventure told by multiple narrators, Purnell celebrates the chaotic margins of the Bay Area and beyond, while still leaving room for moments of tenderness, introspection, and even grief—providing a welcome antidote to a prevalent narrative that the Bay Area has lost its freaky edge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg\" alt=\"\" width=\"600\" height=\"890\" class=\"aligncenter size-full wp-image-13907105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.blackfreighterpress.com/catalog/p/baby-axolotls-y-old-pochos\">Baby Axolotls y Old Pochos\u003c/a>,’ by Josiah Luis Alderete\u003c/h2>\n\u003cp>It’s been a pretty big year for Josiah Luis Alderete. First, the City Lights bookseller published \u003cem>Baby Axolotls y Old Pochos\u003c/em> (Black Freighter Press, $20). And then he went and bought a whole bookstore of his own in the Mission District of San Francisco (Medicine for Nightmares, with J.K. Fowler and Tân Khánh Cao). In his conversational, Spanglish-inflected poetry, Alderate brings to life a tight-knit community surviving with grace under unimaginable pressure. It’s a compassionate recuerdo of family, friends, and identity that straddles many borders—internal and external—and a vivid homage to an increasingly colonized Mission still inhabited by bilinguistas and Pochos, Tías and Tezcatlipoca.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg\" alt=\"\" width=\"600\" height=\"744\" class=\"aligncenter size-full wp-image-13907112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_-160x198.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://citylights.com/poetry/blood-on-the-fog/\">Blood on the Fog\u003c/a>,’ by Tongo Eisen-Martin\u003c/h2>\n\u003cp>To see San Francisco’s eighth poet laureate Tongo Eisen-Martin read is to get a crash course on how poetry can be a wholly embodied artform. Dynamic and assured, Eisen-Martin inhabits the living, breathing margins of his poems sometimes as a warrior, sometimes as a ghost; sometimes an explosion, sometimes as a wisp of smoke. In his third book, \u003cem>Blood in the Fog\u003c/em> (City Lights Books, $15.95), he reveals the layers of a revolutionary experience from the inside out, excavating family histories, fragments of song, Black power and Marxist theory, structural violence and the candor of the street with richly invoked language and intricate form. “I am lucky to be a metaphor for no one,” Eisen-Martin writes. The metaphor resides within.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg\" alt=\"\" width=\"600\" height=\"910\" class=\"aligncenter size-full wp-image-13907106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200-160x243.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://wwnorton.com/books/9780393652666\">Four Lost Cities\u003c/a>,’ by Annalee Newitz\u003c/h2>\n\u003cp>If you’ve read Annalee Newitz’ \u003cem>Scatter, Adapt, and Remember\u003c/em>, you’ve already encountered their theories about how humanity might survive the ongoing Holocene extinction event, including adapting our cities to address climate change and other perils. In \u003cem>Four Lost Cities\u003c/em> (W.W. Norton, $26.95), Newitz revisits the theme of adaptation by positioning the collapse of certain urban environments as a natural part of their evolution. Investigating the demise of four cities—from Çatalhöyük to Cahokia—Newitz looks into their unique cultural and environmental markers in order to determine what external and internal circumstances could lead to their “disappearance.” Captivating and thought-provoking.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"887\" class=\"aligncenter size-full wp-image-13907107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://groveatlantic.com/book/gordo/\">Gordo\u003c/a>,’ by Jaime Cortez\u003c/h2>\n\u003cp>One of the best readings I’ve ever attended was at a LitQuake, perhaps 10 years ago, where I saw Jaime Cortez read “The Jesus Donut”—the story that kicks off the collection of shorts. Ever since, I’ve eagerly awaited this joyous book of short stories centered on a 1970s migrant community in Watsonville. With a loving touch, Cortez imbues his tales with humor, dignity, and heart, frequently (though not exclusively) told through the eyes of a bullied child, called “Gordo” by most. \u003cem>Gordo\u003c/em> (Grove Atlantic, $16) is a wonderfully detailed portrait of a specific time and place that nonetheless feels completely of the moment, and makes for a deeply satisfying read.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg\" alt=\"\" width=\"600\" height=\"900\" class=\"aligncenter size-full wp-image-13907108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9780374602512/inflamed\">Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/a>,’ Rupa Marya and Raj Patel\u003c/h2>\n\u003cp>Physician-musician-activist-author Rupa Marya is a true renaissance person, seemingly capable of taking full part in any discipline or area of expertise. In \u003cem>Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/em> (Macmillan, $30 hardcover; $14.99 ebook), co-written with author Raj Patel, Marya ties the systems of the human body to the systems of the natural world in order to demonstrate how the dire effects of colonization, capitalism, and other human-made oppressive systems affect not only the physical form, but our interconnected well-being. It’s an urgent call from the field of medicine to address the very real racial, gender, and socio-economic inequities built as firmly into “health care” as any other institutional structure in a society where commerce comes before the commons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LastNomad.lg_.jpg\" alt=\"\" width=\"600\" height=\"909\" class=\"aligncenter size-full wp-image-13907113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.workman.com/products/the-last-nomad/hardback\">The Last Nomad: Coming of Age in the Somali Desert\u003c/a>,’ by Shugri Said Salh\u003c/h2>\n\u003cp>In the first line of her stunning memoir, Shugri Said Salh admits that of course she’s not literally the last nomad. But rather, that she’s the last of her family line to have been nomadic—as even her siblings had remained living in cities and villages while Salh spent a good portion of her childhood herding goats across the Somali desert under the watchful eye of her beloved \u003cem>ayeeyo\u003c/em> (Grandmother). In \u003cem>The Last Nomad\u003c/em> (Workman Publishing, $26.95), Salh introduces us to the spare, harsh beauty of the desert and the deeply engrained rituals and traditions that kept her connected to her ancestral paths, until devastating war forced her and her family to flee the country. A clear-eyed, richly-remembered memoir that takes its readers on the journey of a lifetime—from Somalia to Sonoma County.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg\" alt=\"\" width=\"600\" height=\"928\" class=\"aligncenter size-full wp-image-13907109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900-160x247.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9781250800022/neversayyoucantsurvive\">Never Say You Can’t Survive\u003c/a>,’ Charlie Jane Anders\u003c/h2>\n\u003cp>If you, like myself, found yourself in need of gently reassuring pep talk a time or twenty over this past year, then this is the book for you. \u003cem>Never Say You Can’t Survive\u003c/em> (Macmillan $26.99 hardcover; ebook $13.99) is a friendly hug from your writing bestie who came to your coffee date prepared with a bunch of savvy advice and side of life coaching. The longtime chief cat wrangler of reading series Writers With Drinks, and an award-winning fantasy writer, Anders’ personable essays reflect on the life-changing potential good writing—and good writing practice—can have, for readers and writers both. If you’d rather just skip the processing and read her fiction instead, Anders published two other books this year as well: intergalactic YA adventure \u003cem>Victories Greater Than Death,\u003c/em> and short story collection \u003cem>Even Greater Mistakes\u003c/em>. A phenomenal triple-header!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"906\" class=\"aligncenter size-full wp-image-13907110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.harpercollins.com/products/squad-maggie-tokuda-hall?variant=33051647508514\">Squad\u003c/a>,’ by Maggie Tokuda-Hall, illustrated by Lisa Sterle\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you read just one teenage werewolf feminist revenge fantasy this year, make it \u003cem>Squad\u003c/em> (HarperCollins, $14.99), by Maggie Tokuda-Hall—a (literally) ripping yarn about a clique of popular girls who turn into a pack of ravenous, anti-patriarchal wolves during the full moon who feast specifically upon predatory young men. \u003cem>Squad\u003c/em> may be marketed as a YA graphic novel, but it’s honestly for anyone looking for humor and bite; a \u003cem>Mean Girls\u003c/em> for monster maniacs. As Tokuda-Hall’s squad alternate between supporting each other and squabbling over their internal power dynamics, an accidental death too close to home threatens to reveal their murderous secrets. Lisa Sterle’s gorgeously saturated artwork fleshes out their world with vigor and verve.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907013/bay-area-books-best-2021","authors":["11497"],"categories":["arts_1","arts_73"],"tags":["arts_16311","arts_928","arts_1831","arts_21778","arts_2209"],"featImg":"arts_13907122","label":"source_arts_13907013"},"arts_13907035":{"type":"posts","id":"arts_13907035","meta":{"index":"posts_1591205157","site":"arts","id":"13907035","score":null,"sort":[1639011598000]},"guestAuthors":[],"slug":"best-visual-art-2021-galleries-museums-sf-bay-area","title":"The Best Art I Saw in 2021","publishDate":1639011598,"format":"standard","headTitle":"The Best Art I Saw in 2021 | KQED","labelTerm":{},"content":"\u003cp>I didn’t write one of these last year. There \u003ci>was\u003c/i> art, and I had some great viewing experiences—\u003ca href=\"https://www.kqed.org/arts/13886602/im-not-the-only-one-review-fraenkel-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">often alone\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\" target=\"_blank\" rel=\"noopener noreferrer\">overly emotional\u003c/a>, relishing \u003ca href=\"https://www.kqed.org/arts/13884350/ratio-3-arthur-sam-moyer-eddie-martinez\" target=\"_blank\" rel=\"noopener noreferrer\">texture and color\u003c/a>. But the local visual art scene was largely shuttered, especially our largest institutions. In the end, I wrote more stories about layoffs, furloughs and closures in 2020 than I did about artists presenting new work.\u003c/p>\n\u003cp>Thankfully, that hasn’t been the case this year. In fact, there was too much going on for me to write about all the beautiful, challenging, exciting stuff I saw in 2021. So without further ado, may I present: the best art I saw in 2021* but didn’t write about at the time.\u003c/p>\n\u003cfigure id=\"attachment_13907056\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907056\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg\" alt=\"A row of multicolored gallon jugs in a row against a white wall.\" width=\"1200\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-768x490.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza’s 1-gallon containers of various liquid products, alternately titled ‘The Heat Death of the Universe and Other Stories,’ 2007; ‘Un’opera intrisa dei luridi colori dell’arcobaleno di un mondo inquinato (A work imbued with the lurid rainbow colors of a polluted world),’ 2019; and ‘$1000 Worth of One Gallon Containers of Various Products,’ 2019. \u003ccite>(Courtesy the artist and Et al. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>*The 2020 Show I’m Still Thinking About\u003c/h2>\n\u003cp>\u003cb>Anthony Discenza, \u003ca href=\"https://etaletc.com/anthony-discenza-no-3-variations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>No 3: Variations\u003c/i>\u003c/a>\u003c/b>\u003cbr>\nWay back in January 2020, I had no idea Anthony Discenza’s show was giving me a glimpse of my future. In Et al.’s Mission Street space, the artist accumulated a prepper-level supply of cleaning products, plugged the sockets with ultrasonic pest control devices and mounted a countdown clock measuring the exhibition’s duration high on the wall. The show tapped into a paranoid energy I was just about to fully inhabit—and the three “variations” of the show (manifesting in three different exhibition statements and three different artwork lists) came to represent the vastly different realities individuals faced during the height of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13907054\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg\" alt=\"A painting of a blurry photograph under a plexi vitrine.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elisheva Biernoff, ‘Rose,’ 2019; acrylic on plywood, painted both sides; painted poplar stand. \u003ccite>(© Elisheva Biernoff; Courtesy Fraenkel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Art That Made Me Say ‘Wow!’ the Most\u003c/h2>\n\u003cp>\u003cb>Elisheva Biernoff, \u003ci>\u003ca href=\"https://fraenkelgallery.com/exhibitions/elisheva-biernoff-starting-from-wrong\" target=\"_blank\" rel=\"noopener noreferrer\">Starting from Wrong\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nIt was very necessary for the works in this Fraenkel Gallery show to be under vitrines. I needed to be protected from my own impulse to get as close as possible to the surface of Elisheva Biernoff’s acrylic on plywood, double-sided paintings. Based on found photographs and rendered at the same scale, Biernoff’s paintings realistically capture all the ways that cameras can fail to capture reality; in her hands, fading, blurry focus, sun-flares and color shifts no longer “ruin” a picture but make it ethereal.\u003c/p>\n\u003cfigure id=\"attachment_13907057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/holding_layout_15_1200.jpg\" alt=\"Sculpture on wood pedestals, a hanging text piece, a black and white drawing and a large blue and black painting.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz in ‘Holding’ at pt.2. \u003ccite>(Courtesy the artists and pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Group Show I Almost Missed\u003c/h2>\n\u003cp>\u003cb>Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz, \u003ci>\u003ca href=\"https://www.part2gallery.com/holdingpublic\" target=\"_blank\" rel=\"noopener noreferrer\">Holding\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOakland’s pt.2 gallery consistently impresses, and has mounted some of the most exciting shows of local artists the Bay Area’s seen in recent years. My one complaint is that the gallery’s exhibition schedule moves too quickly, and that magnificent shows like \u003ci>Holding\u003c/i>, which was up for only three weeks, deserve to be seen by more eyes. The grouping combined Lena Gustafsonʼs optically intense paintings on canvas and paper, Maria Pazʼs ceramics and charcoal drawings, and Lukaza Branfman-Verissimoʼs delicate mylar assemblages in a show that felt like it was made not by three people, but more of a hive mind—in the best possible way.\u003c/p>\n\u003cfigure id=\"attachment_13907051\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Wangechi Mutu: I Am Speaking, Are You Listening?,’ Legion of Honor, San Francisco, 2021. © Wangechi Mutu. \u003ccite>(Photo by Gary Sexton; Image courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Intervention into a European Art Collection\u003c/h2>\n\u003cp>\u003cb>Wangechi Mutu, \u003ci>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/wangechi-mutu\" target=\"_blank\" rel=\"noopener noreferrer\">I Am Speaking, Are You Listening?\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOne of the best moments in the Wangechi Mutu exhibition at the Legion of Honor was the one everyone could see sans ticket. In the museum’s blindingly white stone courtyard, where Rodin’s \u003ci>Thinker\u003c/i> sits, the artist placed two bronze figures laying limp under bronze mats. In \u003ci>The Thinker\u003c/i>’s shadow, \u003ci>Shavasana I\u003c/i> and \u003ci>Shavasana II\u003c/i> were people resting, exhausted after a long yoga session. But they were also something else: representations of the violence perpetuated against women of color in the name of progress, colonialism and Western thought.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CMCsMhEBQDW/?utm_source=ig_web_copy_link\u003c/p>\n\u003ch2>Best Street Art\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jang’s Wheatpastes\u003c/a>\u003c/b>\u003cbr>\nAmid the hullabaloo of \u003ca href=\"https://www.kqed.org/arts/13896327/fnnch-honey-bears-street-art-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">controversy surrounding fnnch\u003c/a> this year, I was delighted to see other work of the non-honey-bear variety proliferating across San Francisco, namely the wheatpasted photographs and delightful remixes by Michael Jang. Drawing from his deep archive of images (of his family in the 1970s, of celebrities and musicians, of aspiring weather reporters), Jang’s work started appearing on boarded-up storefronts, on sandbag-reinforced signs along the Great Highway, on the corner store down the block from my house—often with a #stopasianhate label nearby. Watching them accumulate and disintegrate, and spotting pieces in new locations has become a favorite pastime of 2021.\u003c/p>\n\u003cfigure id=\"attachment_13907055\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/mathematics_06_1200.jpg\" alt=\"Brightly colored math-related objects for children.\" width=\"1200\" height=\"884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-768x566.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An Arithmetic Foundation book and Arithmetic quiz (c. 1940s); a Mickey Math and Toy adding machine (c. 1960s); and\u003cbr>a Little Professor (1976). \u003ccite>(Courtesy of Mickey McGowan, the Computer History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Show I Saw While Stressed Out and In Transit\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.sfomuseum.org/exhibitions/mathematics-vintage-and-modern\" target=\"_blank\" rel=\"noopener noreferrer\">Mathematics: Vintage and Modern\u003c/a>\u003c/b>\u003c/i>\u003cbr>\nIt’s no secret that SFO has some of the best darn exhibitions in the Bay Area. Always surprising, thoughtfully curated and beautifully presented, the airport museum held my attention during a particularly fraught travel time. For the 20 or so minutes that I spent taking in this display of elegant computational mechanisms, vintage toys and sculptural objects rooted in modern math, I completely forgot about the internal calculations I was doing to justify a flight during a pandemic. (This show was also a runner-up for “wows” uttered. Please look into “\u003ca href=\"https://www.kleinbottle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Klein bottles\u003c/a>.”)\u003c/p>\n\u003cfigure id=\"attachment_13907060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg\" alt=\"\" width=\"1200\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-768x517.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Matt Borruso for ‘Urs’ at TamShack.\u003c/figcaption>\u003c/figure>\n\u003ch2>Best New Art Space That Didn’t Stress Me Out\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.1599fdt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TamShack\u003c/a>\u003c/b>\u003cbr>\nIn August, over one weekend, Facundo Argañaraz organized a lovely exhibition of work by Will Rogan and Lauren McKeon outside his home in Mill Valley. For many who attended, it was the first time they’d seen art in person since the beginning of the pandemic—or seen persons, for that matter. Argañaraz has since put together two other two-person shows, arranged around a small patio, a back porch and a sloping hillside. Each time, I’ve felt the simple but great joy of being able to linger, talk and approach art in a nontraditional setting, without the sometimes claustrophobic surroundings of white gallery walls.\u003c/p>\n\u003cp>https://youtu.be/aeZC7Zs9mRY\u003c/p>\n\u003ch2>Best Show as Gift Shop\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.cushionworks.info/exhibitions/abt\" target=\"_blank\" rel=\"noopener noreferrer\">ABT: A Limited Hour 24-Hour Funny Business\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nA project of Asian Brain Trust (Amy Fung, Divya Mehra and Wattis curator Kim Nguyen), this show at Cushion Works was ostensibly a shop of wares—all actually for sale—that met the moment of institutional handwringing over ongoing racial reckonings with hearty doses of sarcasm and skepticism. Objects marketed toward self-declared “allies” included a “Racism Runs Free Frisbee” (“aerodynamic and performs well under all conditions, just like your generic language!”); a “Diversity Tsar Mug” (“Supreme rulership never looked so cute!”); and a “My Authentic Self Sweatshirt” (“Maybe the problem isn’t us!”). Animated videos advertising the “deals deals deals!” looped endlessly, the aural equivalent of grinning and bearing it.\u003c/p>\n\u003cfigure id=\"attachment_13907059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg\" alt=\"Black and white ceramic sculptures sit on a sidewalk around a building corner.\" width=\"1200\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-768x430.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ebitenyefa Baralaye, still from ‘ContAxts (Tenderloin),’ 2017; single-channel HD video (with sound), 3:57 minutes. \u003ccite>(Courtesy of the artist and David Klein Gallery, Detroit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Look at Local Dealings With Dirt\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/origin-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Origin Stories: Expanded Ceramics in the Bay Area\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThis quiet group show at the Berkeley Art Center curated by Tanya Zimbardo gathered artists working with clay in relation to site. In approaches both delicate and forceful, the artists of \u003ci>Origin Stories\u003c/i> demonstrated the remarkably mutable qualities of clay, making clear it’s a material with not just deep historical connotations, but one that continues to offer new ways of approaching art—and its place in the world. A favorite among many: Erik Scollon’s crowd-sourced takeaway \u003ci>CERAMIC TRUISMS (after Holzer)\u003c/i>, which included the statement “Avoid putting people or pottery on pedestals.”\u003c/p>\n\u003cfigure id=\"attachment_13907071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg\" alt=\"Two scissor lifts and workers flank two vibrant panels of fresco painting.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13907071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A large upper panel and a small lower panel of Diego Rivera’s ‘Pan American Unity’ await installation in the Roberts Family Gallery at SFMOMA. \u003ccite>(Katherine Du Tiel/SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Greatest Feat of Art Handling\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Diego Rivera, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\" target=\"_blank\" rel=\"noopener noreferrer\">Pan American Unity\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThe Mexican artist’s monumental fresco, made in front of a live audience during the 1940 Golden Gate International Exposition on Treasure Island, has been on display at City College since 1961. And this summer, it moved—in pieces—from the school’s theater lobby to SFMOMA. It was a feat of engineering and art handling, one that required years of planning, creating near-exact replicas of two panels to test the fresco’s resilience and wee-hours transportation trips across town. Even without this backstory, the artwork awes, but nothing comes into being out of thin air, and \u003ci>Pan American Unity\u003c/i>, moved with the help of a pan-American team, is a great reminder of this fact.\u003c/p>\n\n","blocks":[],"excerpt":"A look back on a small fraction of the beautiful, challenging and exciting visual art of the past year.","status":"publish","parent":0,"modified":1705007409,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1620},"headData":{"title":"The Best Art I Saw in 2021 | KQED","description":"A look back on a small fraction of the beautiful, challenging and exciting visual art of the past year.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Art I Saw in 2021","datePublished":"2021-12-09T00:59:58.000Z","dateModified":"2024-01-11T21:10:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2021 recapped","sourceUrl":"https://www.kqed.org/arts/tag/2021-recapped","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13907035/best-visual-art-2021-galleries-museums-sf-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I didn’t write one of these last year. There \u003ci>was\u003c/i> art, and I had some great viewing experiences—\u003ca href=\"https://www.kqed.org/arts/13886602/im-not-the-only-one-review-fraenkel-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">often alone\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\" target=\"_blank\" rel=\"noopener noreferrer\">overly emotional\u003c/a>, relishing \u003ca href=\"https://www.kqed.org/arts/13884350/ratio-3-arthur-sam-moyer-eddie-martinez\" target=\"_blank\" rel=\"noopener noreferrer\">texture and color\u003c/a>. But the local visual art scene was largely shuttered, especially our largest institutions. In the end, I wrote more stories about layoffs, furloughs and closures in 2020 than I did about artists presenting new work.\u003c/p>\n\u003cp>Thankfully, that hasn’t been the case this year. In fact, there was too much going on for me to write about all the beautiful, challenging, exciting stuff I saw in 2021. So without further ado, may I present: the best art I saw in 2021* but didn’t write about at the time.\u003c/p>\n\u003cfigure id=\"attachment_13907056\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907056\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg\" alt=\"A row of multicolored gallon jugs in a row against a white wall.\" width=\"1200\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-768x490.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza’s 1-gallon containers of various liquid products, alternately titled ‘The Heat Death of the Universe and Other Stories,’ 2007; ‘Un’opera intrisa dei luridi colori dell’arcobaleno di un mondo inquinato (A work imbued with the lurid rainbow colors of a polluted world),’ 2019; and ‘$1000 Worth of One Gallon Containers of Various Products,’ 2019. \u003ccite>(Courtesy the artist and Et al. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>*The 2020 Show I’m Still Thinking About\u003c/h2>\n\u003cp>\u003cb>Anthony Discenza, \u003ca href=\"https://etaletc.com/anthony-discenza-no-3-variations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>No 3: Variations\u003c/i>\u003c/a>\u003c/b>\u003cbr>\nWay back in January 2020, I had no idea Anthony Discenza’s show was giving me a glimpse of my future. In Et al.’s Mission Street space, the artist accumulated a prepper-level supply of cleaning products, plugged the sockets with ultrasonic pest control devices and mounted a countdown clock measuring the exhibition’s duration high on the wall. The show tapped into a paranoid energy I was just about to fully inhabit—and the three “variations” of the show (manifesting in three different exhibition statements and three different artwork lists) came to represent the vastly different realities individuals faced during the height of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13907054\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg\" alt=\"A painting of a blurry photograph under a plexi vitrine.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elisheva Biernoff, ‘Rose,’ 2019; acrylic on plywood, painted both sides; painted poplar stand. \u003ccite>(© Elisheva Biernoff; Courtesy Fraenkel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Art That Made Me Say ‘Wow!’ the Most\u003c/h2>\n\u003cp>\u003cb>Elisheva Biernoff, \u003ci>\u003ca href=\"https://fraenkelgallery.com/exhibitions/elisheva-biernoff-starting-from-wrong\" target=\"_blank\" rel=\"noopener noreferrer\">Starting from Wrong\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nIt was very necessary for the works in this Fraenkel Gallery show to be under vitrines. I needed to be protected from my own impulse to get as close as possible to the surface of Elisheva Biernoff’s acrylic on plywood, double-sided paintings. Based on found photographs and rendered at the same scale, Biernoff’s paintings realistically capture all the ways that cameras can fail to capture reality; in her hands, fading, blurry focus, sun-flares and color shifts no longer “ruin” a picture but make it ethereal.\u003c/p>\n\u003cfigure id=\"attachment_13907057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/holding_layout_15_1200.jpg\" alt=\"Sculpture on wood pedestals, a hanging text piece, a black and white drawing and a large blue and black painting.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz in ‘Holding’ at pt.2. \u003ccite>(Courtesy the artists and pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Group Show I Almost Missed\u003c/h2>\n\u003cp>\u003cb>Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz, \u003ci>\u003ca href=\"https://www.part2gallery.com/holdingpublic\" target=\"_blank\" rel=\"noopener noreferrer\">Holding\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOakland’s pt.2 gallery consistently impresses, and has mounted some of the most exciting shows of local artists the Bay Area’s seen in recent years. My one complaint is that the gallery’s exhibition schedule moves too quickly, and that magnificent shows like \u003ci>Holding\u003c/i>, which was up for only three weeks, deserve to be seen by more eyes. The grouping combined Lena Gustafsonʼs optically intense paintings on canvas and paper, Maria Pazʼs ceramics and charcoal drawings, and Lukaza Branfman-Verissimoʼs delicate mylar assemblages in a show that felt like it was made not by three people, but more of a hive mind—in the best possible way.\u003c/p>\n\u003cfigure id=\"attachment_13907051\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Wangechi Mutu: I Am Speaking, Are You Listening?,’ Legion of Honor, San Francisco, 2021. © Wangechi Mutu. \u003ccite>(Photo by Gary Sexton; Image courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Intervention into a European Art Collection\u003c/h2>\n\u003cp>\u003cb>Wangechi Mutu, \u003ci>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/wangechi-mutu\" target=\"_blank\" rel=\"noopener noreferrer\">I Am Speaking, Are You Listening?\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOne of the best moments in the Wangechi Mutu exhibition at the Legion of Honor was the one everyone could see sans ticket. In the museum’s blindingly white stone courtyard, where Rodin’s \u003ci>Thinker\u003c/i> sits, the artist placed two bronze figures laying limp under bronze mats. In \u003ci>The Thinker\u003c/i>’s shadow, \u003ci>Shavasana I\u003c/i> and \u003ci>Shavasana II\u003c/i> were people resting, exhausted after a long yoga session. But they were also something else: representations of the violence perpetuated against women of color in the name of progress, colonialism and Western thought.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CMCsMhEBQDW"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Best Street Art\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jang’s Wheatpastes\u003c/a>\u003c/b>\u003cbr>\nAmid the hullabaloo of \u003ca href=\"https://www.kqed.org/arts/13896327/fnnch-honey-bears-street-art-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">controversy surrounding fnnch\u003c/a> this year, I was delighted to see other work of the non-honey-bear variety proliferating across San Francisco, namely the wheatpasted photographs and delightful remixes by Michael Jang. Drawing from his deep archive of images (of his family in the 1970s, of celebrities and musicians, of aspiring weather reporters), Jang’s work started appearing on boarded-up storefronts, on sandbag-reinforced signs along the Great Highway, on the corner store down the block from my house—often with a #stopasianhate label nearby. Watching them accumulate and disintegrate, and spotting pieces in new locations has become a favorite pastime of 2021.\u003c/p>\n\u003cfigure id=\"attachment_13907055\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/mathematics_06_1200.jpg\" alt=\"Brightly colored math-related objects for children.\" width=\"1200\" height=\"884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-768x566.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An Arithmetic Foundation book and Arithmetic quiz (c. 1940s); a Mickey Math and Toy adding machine (c. 1960s); and\u003cbr>a Little Professor (1976). \u003ccite>(Courtesy of Mickey McGowan, the Computer History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Show I Saw While Stressed Out and In Transit\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.sfomuseum.org/exhibitions/mathematics-vintage-and-modern\" target=\"_blank\" rel=\"noopener noreferrer\">Mathematics: Vintage and Modern\u003c/a>\u003c/b>\u003c/i>\u003cbr>\nIt’s no secret that SFO has some of the best darn exhibitions in the Bay Area. Always surprising, thoughtfully curated and beautifully presented, the airport museum held my attention during a particularly fraught travel time. For the 20 or so minutes that I spent taking in this display of elegant computational mechanisms, vintage toys and sculptural objects rooted in modern math, I completely forgot about the internal calculations I was doing to justify a flight during a pandemic. (This show was also a runner-up for “wows” uttered. Please look into “\u003ca href=\"https://www.kleinbottle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Klein bottles\u003c/a>.”)\u003c/p>\n\u003cfigure id=\"attachment_13907060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg\" alt=\"\" width=\"1200\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-768x517.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Matt Borruso for ‘Urs’ at TamShack.\u003c/figcaption>\u003c/figure>\n\u003ch2>Best New Art Space That Didn’t Stress Me Out\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.1599fdt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TamShack\u003c/a>\u003c/b>\u003cbr>\nIn August, over one weekend, Facundo Argañaraz organized a lovely exhibition of work by Will Rogan and Lauren McKeon outside his home in Mill Valley. For many who attended, it was the first time they’d seen art in person since the beginning of the pandemic—or seen persons, for that matter. Argañaraz has since put together two other two-person shows, arranged around a small patio, a back porch and a sloping hillside. Each time, I’ve felt the simple but great joy of being able to linger, talk and approach art in a nontraditional setting, without the sometimes claustrophobic surroundings of white gallery walls.\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/aeZC7Zs9mRY'\n title='//www.youtube.com/embed/aeZC7Zs9mRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Best Show as Gift Shop\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.cushionworks.info/exhibitions/abt\" target=\"_blank\" rel=\"noopener noreferrer\">ABT: A Limited Hour 24-Hour Funny Business\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nA project of Asian Brain Trust (Amy Fung, Divya Mehra and Wattis curator Kim Nguyen), this show at Cushion Works was ostensibly a shop of wares—all actually for sale—that met the moment of institutional handwringing over ongoing racial reckonings with hearty doses of sarcasm and skepticism. Objects marketed toward self-declared “allies” included a “Racism Runs Free Frisbee” (“aerodynamic and performs well under all conditions, just like your generic language!”); a “Diversity Tsar Mug” (“Supreme rulership never looked so cute!”); and a “My Authentic Self Sweatshirt” (“Maybe the problem isn’t us!”). Animated videos advertising the “deals deals deals!” looped endlessly, the aural equivalent of grinning and bearing it.\u003c/p>\n\u003cfigure id=\"attachment_13907059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg\" alt=\"Black and white ceramic sculptures sit on a sidewalk around a building corner.\" width=\"1200\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-768x430.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ebitenyefa Baralaye, still from ‘ContAxts (Tenderloin),’ 2017; single-channel HD video (with sound), 3:57 minutes. \u003ccite>(Courtesy of the artist and David Klein Gallery, Detroit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Look at Local Dealings With Dirt\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/origin-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Origin Stories: Expanded Ceramics in the Bay Area\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThis quiet group show at the Berkeley Art Center curated by Tanya Zimbardo gathered artists working with clay in relation to site. In approaches both delicate and forceful, the artists of \u003ci>Origin Stories\u003c/i> demonstrated the remarkably mutable qualities of clay, making clear it’s a material with not just deep historical connotations, but one that continues to offer new ways of approaching art—and its place in the world. A favorite among many: Erik Scollon’s crowd-sourced takeaway \u003ci>CERAMIC TRUISMS (after Holzer)\u003c/i>, which included the statement “Avoid putting people or pottery on pedestals.”\u003c/p>\n\u003cfigure id=\"attachment_13907071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg\" alt=\"Two scissor lifts and workers flank two vibrant panels of fresco painting.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13907071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A large upper panel and a small lower panel of Diego Rivera’s ‘Pan American Unity’ await installation in the Roberts Family Gallery at SFMOMA. \u003ccite>(Katherine Du Tiel/SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Greatest Feat of Art Handling\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Diego Rivera, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\" target=\"_blank\" rel=\"noopener noreferrer\">Pan American Unity\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThe Mexican artist’s monumental fresco, made in front of a live audience during the 1940 Golden Gate International Exposition on Treasure Island, has been on display at City College since 1961. And this summer, it moved—in pieces—from the school’s theater lobby to SFMOMA. It was a feat of engineering and art handling, one that required years of planning, creating near-exact replicas of two panels to test the fresco’s resilience and wee-hours transportation trips across town. Even without this backstory, the artwork awes, but nothing comes into being out of thin air, and \u003ci>Pan American Unity\u003c/i>, moved with the help of a pan-American team, is a great reminder of this fact.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907035/best-visual-art-2021-galleries-museums-sf-bay-area","authors":["61"],"categories":["arts_1"],"tags":["arts_16311","arts_2647","arts_10342","arts_10278","arts_3740","arts_3649","arts_1956","arts_3648","arts_16266","arts_1381","arts_901"],"featImg":"arts_13907062","label":"source_arts_13907035"},"arts_13906845":{"type":"posts","id":"arts_13906845","meta":{"index":"posts_1591205157","site":"arts","id":"13906845","score":null,"sort":[1638830907000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2021","title":"The 10 Best Bay Area Albums of 2021","publishDate":1638830907,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2021 | KQED","labelTerm":{},"content":"\u003cp>There was no return to normal in 2021. In a weird, in-between year, many of us were grateful to gather again in homes, concert halls and dive bars for some much-needed spiritual sustenance. Yet the pandemic has forced us to constantly calculate risk and make adjustments to how we move about the world, and the best music of the year helped us navigate this time of buffering.\u003c/p>\n\u003cp>When KQED Arts & Culture looked back on the year in Bay Area music, we saw that the most compelling albums helped us contemplate our relationships to ourselves and our communities. We saw lyricists and instrumentalists reaching new heights of their powers, in terms of both craft and concept. They asked questions instead of speaking in absolutes, and nudged us towards empathy, understanding, catharsis and even joy.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4QUyonrAyfrMvsQOn8xrBb?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ian Kelly, \u003cem>Kells is D.E.A.D.\u003c/em> (Jamla Records)\u003c/h2>\n\u003cp>Ironically, sunning in the aura of your authentic self often requires a symbolic death. \u003cem>Kells is D.E.A.D.\u003c/em> is Oakland rapper Ian Kelly’s sophomore album and it shines. With a narrative blend of catchy hooks and metaphors for days, the project chronicles the passing of Kelly’s former rap moniker. Be sure to listen on repeat to catch the wordplay. He spits, “Too many questions with no question marks / You’s a mark if you can’t spit your heart inside of this art” on my personal favorite, “Make Room.” On the standout track “Soul of a Man,” he proclaims, “Life after death / So my time spent is a pit stop.”\u003c/p>\n\u003cp>With unexpected sample flips and features by Reuben Vincent, GQ and Heather Victory, \u003cem>Kells is D.E.A.D.\u003c/em> is a testament to rebirth. Not many local rappers stepped into 2021 with such audacity, but Kelly stays humble. He’s signed to Jamla Records (9th Wonder’s independent record label) and is part of rap group Grand Nationxl, so the future looks bright for this agile lyricist.\u003cem>—Maddy Clifford\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2034859009/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>hawak, \u003cem>nước\u003c/em> (Zegema Beach Records)\u003c/h2>\n\u003cp>\u003cem>nước\u003c/em> is a multifaceted Vietnamese word: It means “water” most commonly, but can sometimes mean “country” or “nation.” It’s a slippery meaning appropriate for the title for hawak’s debut album, a screamo tone-poem exploring the liminality of refugees, immigrants and their children. It channels the pain of living an unstable, contradictory identity—“You ask yourself / Mày là ai?” (Who are you?) singer Tomm Nguyen shouts at the climax of one track. But the album isn’t content to wallow in Asian American existential despair without charting a way out. All the navel-gazing exploration of identity finally leads outward to a renewed faith in community in the last track: “We’re here with you! / We’ll stay with you! / We’re still with you!”\u003cem>—Adesh Thapliyal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5e5PRCyX77IfDVxTQF0vUZ?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Miko Marks & the Resurrectors, \u003cem>Our Country\u003c/em> (Redtone Records)\u003c/h2>\n\u003cp>The Bay Area isn’t Nashville, but our country music artists possess a soulfulness and political consciousness that stand out in a culturally homogenous industry. In fact, country’s exclusionary gatekeepers almost cost Miko Marks her career in the 2000s. At the time, labels loved her sound but told her in euphemistic terms that she wasn’t a fit for a record deal, likely because of the color of her skin.\u003c/p>\n\u003cp>Undeterred, Miko Marks & the Resurrectors made a fierce comeback in 2021 with \u003cem>Our Country\u003c/em>, her first full-length release in 13 years. The foot-stomping, piano-driven opening track, “Ancestors,” grounds Marks in a courageous lineage as she prepares to speak truth to power. Her observations are clear-eyed as ever on “Good Night America,” an acoustic, slide-guitar eulogy for the American dream that indicts the nation’s hypocrisy. The folk ballad “Travel Light” burns slow like a smoldering campfire, and the gospel-steeped “Mercy” offers a prayer for strength. On \u003cem>Our Country\u003c/em>, Marks brings out tenderness and grief with the sheer emotion of her voice and lyrics, and gives us spiritual resolve to continue the fight for justice.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3444209659/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Keshav Batish, \u003cem>Binaries in Cycle\u003c/em> (Woven Strands Productions)\u003c/h2>\n\u003cp>As the scion of a celebrated musical clan, Keshav Batish is making his own way in the family business. Son of Mumbai-born sitar and tabla virtuoso Ashwin Batish, whose parents were both renowned musicians in North Indian classical music and beyond, the Santa Cruz-raised drummer and composer makes a dazzling debut with \u003cem>Binaries in Cycle\u003c/em>. While focusing on Batish’s intricately constructed originals drawing on his jazz and Hindustani musical training, the album includes two ringers, Ornette Coleman’s bouncy, rarely played tune “Police People” and Thelonious Monk’s standard “We See.”\u003c/p>\n\u003cp>But it’s the pieces he designed for the quartet that consistently impress. The opening, nearly 13-minute title track is a quicksilver odyssey that feints, darts and spins around his crisp and supple cymbal work; “Gayatri” is stately and incantatory. Recorded August 2020 as part of the \u003cem>Mondays with Kuumbwa\u003c/em> virtual performance series, the album features pianist Lucas Hahn and bassist Aron Caceres, Batish’s musical collaborators since junior high, and Israeli-born alto saxophonist Shay Salhov, a more recent connection who’s a generation older than his bandmates. Heady and gutsy, pensive and joyous, Indian and American, Batish’s music embraces duality as a path to a highly personal sound that promises discoveries to come.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5jowai2DVaDn3cgxigARdy?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Destroy Boys, \u003cem>Open Mouth, Open Heart\u003c/em> (Hopeless Records)\u003c/h2>\n\u003cp>With October’s \u003cem>Open Mouth, Open Heart\u003c/em>, Destroy Boys offered up 13 tracks of cathartic, angst-combating, middle-finger-pointing post-punk. The trio’s third album didn’t just signal their graduation from teen maybes to young contenders, it ignited an already faithful fanbase into a downright fervent one. And for good reason. \u003cem>Open Mouth, Open Heart\u003c/em> fearlessly combines punk rock defiance with riot grrrl snottiness, and centers it all with empathetic lyrics and stirring melodies.\u003c/p>\n\u003cp>Each song offers an unfiltered, visceral glimpse into the real-life strains and struggles of frontwoman Alexia Roditis. “Drink” is about breaking addiction cycles. “Locker Room Bully” pushes back against social media toxicity. “For What” challenges police brutality. And halfway through the album is a 50-second spoken word interlude about living with anxiety. For the first time, the band also included two Spanish language songs—“Lo peor” and “Te llevo conmigo”—to honor Roditis’ Argentinian heritage.\u003c/p>\n\u003cp>On “Escape,” the band declares: “I don’t see anyone asking anyone of any other profession, except for artists, what their plan B is … You know, I could really do without hearing that question ever again.” After \u003cem>Open Mouth, Open Heart\u003c/em>, they shouldn’t have to.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1IW9NLcYGgPBr2RRL0HML2?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Stunnaman02, \u003cem>I Gotta Feel It\u003c/em> (EMPIRE)\u003c/h2>\n\u003cp>Years from now, when we look talk about “coming out of quarantine,” we’ll get to that part in the conversation where we discuss the songs of the era. That’s when someone will mention Stunnaman02’s “Big Steppin,” and chances are they’ll \u003ca href=\"https://www.sfweekly.com/music/the-rise-of-big-steppin-stunnaman02s-viral-dance/\" target=\"_blank\" rel=\"noopener noreferrer\">hit the dance\u003c/a> that accompanies it.\u003c/p>\n\u003cp>The track has been played in clubs and brunches, and \u003ca href=\"https://www.youtube.com/watch?v=i0-23jajj0w&ab_channel=Stunnaman02%26QuakeBeatz-Topic\" target=\"_blank\" rel=\"noopener noreferrer\">remixed for the 49ers\u003c/a>. The Warriors have even danced to it on the court. Beyond the motivational lyrics and uptempo beat, it’s the dance that has really carried the song. (For 170 consecutive days, Stunnaman02 posted videos of himself “Big Steppin’” everywhere from the East Bay Hills to Hawai’i.)\u003c/p>\n\u003cp>While many artists flood the market with album after album, Stunnaman02 dropped two projects this year. “Big Steppin’” was featured on the QuakeBeatz-produced album \u003cem>I Gotta Feel It\u003c/em>. Admittedly, the lead single tends to overshadow the rest of the track list, but songs like “Buzzin’” and “Chimmy Wit It” featuring Gunna Goes Global slap nonetheless. Yet it’s “Big Steppin’” that this album will be known for. And if we’re discussing music that came out of the Bay Area in 2021, it’s mandatory that this track is mentioned.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3221812617/size=large/bgcol=ffffff/linkcol=0687f5/license_id=1640/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bachelor, \u003cem>Doomin’ Sun\u003c/em> (Polyvinyl Record Co.)\u003c/h2>\n\u003cp>If only more of 2021 lived up to the experience of listening to this album. Both intimate and expansive, \u003ci>Doomin’ Sun\u003c/i> has a track for every mood. Full of pent-up energy? Sing along to “Stay in the Car.” Need four minutes of dreamy introspection? Skip over to “Aurora.” The story behind Bachelor (Bay Area native Melina Duterte of Jay Som and Palehound’s Ellen Kempner) and their first release is one of long-term musical admiration, culminating in a two-week recording spree in January 2020. Written before lockdown and released mid-pandemic, \u003ci>Doomin’ Sun\u003c/i> is anything but dated. Duterte and Kempner’s songs about ecological collapse, queer love and the endless scroll of online life alternately shimmer and yelp, their warn and easy harmonies providing evidence of a musical collaboration I didn’t realize I was desperate to hear.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1aKVy5l48Zu3In3M0SbDEe?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>LaRussell, \u003cem>Cook Together, Eat Together\u003c/em> (Good Compenny/Corite)\u003c/h2>\n\u003cp>Some rappers brag about success. On \u003cem>Cook Together, Eat Together\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a> discusses it, analyzes it, computes it. In a steady stream of one-liners containing more truth than comedy, the Vallejo rapper has his eyes open to the world, not surprised by his success so much as gratified at the results of putting in the work. “Look at how it panned out,” he raps on the E-40 flip “Sprinkle Me,” “They offer you a seat when you stand out / Got a handful without a handout.” (The boss himself drops in for an anointing guest verse.) As the album title suggests, LaRussell puts on for his town, not least with his \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">Good Compenny video series\u003c/a>, which showcases young Bay Area talent. Like his peers, LaRussell is still hungry; across \u003cem>Cook Together\u003c/em>, his voice occasionally cracks in desperation. But it growls with determination, too. This is grown rap from a young star in the making.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3334000261/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Joel St. Julien, \u003cem>Empathy\u003c/em> (Land and Sea)\u003c/h2>\n\u003cp>At a time of national reckoning, Haitian-American composer and sound artist Joel St. Julien gives listeners the gift of compassion. On his 2021 release \u003cem>Empathy\u003c/em>, the San Francisco-based artist’s instrumental music takes listeners on a healing journey.\u003c/p>\n\u003cp>With its ambient sounds and lush synthesizers, St. Julien’s music pulls us into the present, much like meditation. On the first track, “Empathy I” the song’s sonic synths and bouncy tempos echo the rumblings of unresolved conflict. On track six, “Where I am,” the rich sounds and soothing tones convey catharsis.\u003c/p>\n\u003cp>Like therapy, \u003cem>Empathy\u003c/em> invokes a contemplative state, and St. Julien’s compositions become the catalyst for introspection, emotional examination, and resolution.\u003cem>—Juli Fraga\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=769359718/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kevin Allen, \u003cem>Nothing Lasts Forever\u003c/em> (Grand Nationxl)\u003c/h2>\n\u003cp>\u003cem>Nothing Lasts Forever\u003c/em> tells a lot of different stories about Bay Area hip-hop in 2021. For starters, it represents the fully-formed rebirth of erstwhile hyphy rapper Erk Tha Jerk as Kevin Allen. Next, it shows Allen as a master orchestrator who thoughtfully positions a cadre of ascendant artists. Among them is Ian Kelly, who hops on the jazz-inflected “Radio Raheem.” Guapdad 4000, who made noise well outside the Bay with his album \u003cem>1176\u003c/em>, is on the masterful canvas of “Unwind.” Jane Handcock, who was prominently featured on both Dame D.O.L.L.A.’s underrated \u003cem>Different On Levels The Lord Allowed\u003c/em> and on Snoop Dogg’s star-studded \u003cem>The Algorithm\u003c/em>, elevates both “Childish” and “Oh, The Irony.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But the through line here is Allen. He started working on his solo album last year, before realizing that there was a legitimate collective brewing in the studio. His group Grand Nationxl’s fantastic \u003cem>Twice on Sunday\u003c/em> was born instead. Now on \u003cem>Nothing Lasts Forever\u003c/em>, the crew is back to help prop up their leader, and Allen is a sage-like presence we don’t have enough of in Bay Area rap these days. “What’s the point of having tools if you lack the screws?” he raps on album opener “Franklin Saint,” one of the many grateful moments filled with poise and commitment to what he’s building in the present. Now the challenge is to maintain longevity with it all, and with Allen at the helm, all the elements are in place.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In a confusing year, the best albums nudged us towards greater empathy, understanding, catharsis and even joy. ","status":"publish","parent":0,"modified":1705007417,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=2034859009/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3444209659/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3221812617/size=large/bgcol=ffffff/linkcol=0687f5/license_id=1640/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3334000261/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=769359718/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":2181},"headData":{"title":"The 10 Best Bay Area Albums of 2021 | KQED","description":"In a confusing year, the best albums nudged us towards greater empathy, understanding, catharsis and even joy. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2021","datePublished":"2021-12-06T22:48:27.000Z","dateModified":"2024-01-11T21:10:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2021 recapped","sourceUrl":"https://www.kqed.org/arts/tag/2021-recapped","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13906845/the-10-best-bay-area-albums-of-2021","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There was no return to normal in 2021. In a weird, in-between year, many of us were grateful to gather again in homes, concert halls and dive bars for some much-needed spiritual sustenance. Yet the pandemic has forced us to constantly calculate risk and make adjustments to how we move about the world, and the best music of the year helped us navigate this time of buffering.\u003c/p>\n\u003cp>When KQED Arts & Culture looked back on the year in Bay Area music, we saw that the most compelling albums helped us contemplate our relationships to ourselves and our communities. We saw lyricists and instrumentalists reaching new heights of their powers, in terms of both craft and concept. They asked questions instead of speaking in absolutes, and nudged us towards empathy, understanding, catharsis and even joy.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4QUyonrAyfrMvsQOn8xrBb?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ian Kelly, \u003cem>Kells is D.E.A.D.\u003c/em> (Jamla Records)\u003c/h2>\n\u003cp>Ironically, sunning in the aura of your authentic self often requires a symbolic death. \u003cem>Kells is D.E.A.D.\u003c/em> is Oakland rapper Ian Kelly’s sophomore album and it shines. With a narrative blend of catchy hooks and metaphors for days, the project chronicles the passing of Kelly’s former rap moniker. Be sure to listen on repeat to catch the wordplay. He spits, “Too many questions with no question marks / You’s a mark if you can’t spit your heart inside of this art” on my personal favorite, “Make Room.” On the standout track “Soul of a Man,” he proclaims, “Life after death / So my time spent is a pit stop.”\u003c/p>\n\u003cp>With unexpected sample flips and features by Reuben Vincent, GQ and Heather Victory, \u003cem>Kells is D.E.A.D.\u003c/em> is a testament to rebirth. Not many local rappers stepped into 2021 with such audacity, but Kelly stays humble. He’s signed to Jamla Records (9th Wonder’s independent record label) and is part of rap group Grand Nationxl, so the future looks bright for this agile lyricist.\u003cem>—Maddy Clifford\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2034859009/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>hawak, \u003cem>nước\u003c/em> (Zegema Beach Records)\u003c/h2>\n\u003cp>\u003cem>nước\u003c/em> is a multifaceted Vietnamese word: It means “water” most commonly, but can sometimes mean “country” or “nation.” It’s a slippery meaning appropriate for the title for hawak’s debut album, a screamo tone-poem exploring the liminality of refugees, immigrants and their children. It channels the pain of living an unstable, contradictory identity—“You ask yourself / Mày là ai?” (Who are you?) singer Tomm Nguyen shouts at the climax of one track. But the album isn’t content to wallow in Asian American existential despair without charting a way out. All the navel-gazing exploration of identity finally leads outward to a renewed faith in community in the last track: “We’re here with you! / We’ll stay with you! / We’re still with you!”\u003cem>—Adesh Thapliyal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5e5PRCyX77IfDVxTQF0vUZ?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Miko Marks & the Resurrectors, \u003cem>Our Country\u003c/em> (Redtone Records)\u003c/h2>\n\u003cp>The Bay Area isn’t Nashville, but our country music artists possess a soulfulness and political consciousness that stand out in a culturally homogenous industry. In fact, country’s exclusionary gatekeepers almost cost Miko Marks her career in the 2000s. At the time, labels loved her sound but told her in euphemistic terms that she wasn’t a fit for a record deal, likely because of the color of her skin.\u003c/p>\n\u003cp>Undeterred, Miko Marks & the Resurrectors made a fierce comeback in 2021 with \u003cem>Our Country\u003c/em>, her first full-length release in 13 years. The foot-stomping, piano-driven opening track, “Ancestors,” grounds Marks in a courageous lineage as she prepares to speak truth to power. Her observations are clear-eyed as ever on “Good Night America,” an acoustic, slide-guitar eulogy for the American dream that indicts the nation’s hypocrisy. The folk ballad “Travel Light” burns slow like a smoldering campfire, and the gospel-steeped “Mercy” offers a prayer for strength. On \u003cem>Our Country\u003c/em>, Marks brings out tenderness and grief with the sheer emotion of her voice and lyrics, and gives us spiritual resolve to continue the fight for justice.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3444209659/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Keshav Batish, \u003cem>Binaries in Cycle\u003c/em> (Woven Strands Productions)\u003c/h2>\n\u003cp>As the scion of a celebrated musical clan, Keshav Batish is making his own way in the family business. Son of Mumbai-born sitar and tabla virtuoso Ashwin Batish, whose parents were both renowned musicians in North Indian classical music and beyond, the Santa Cruz-raised drummer and composer makes a dazzling debut with \u003cem>Binaries in Cycle\u003c/em>. While focusing on Batish’s intricately constructed originals drawing on his jazz and Hindustani musical training, the album includes two ringers, Ornette Coleman’s bouncy, rarely played tune “Police People” and Thelonious Monk’s standard “We See.”\u003c/p>\n\u003cp>But it’s the pieces he designed for the quartet that consistently impress. The opening, nearly 13-minute title track is a quicksilver odyssey that feints, darts and spins around his crisp and supple cymbal work; “Gayatri” is stately and incantatory. Recorded August 2020 as part of the \u003cem>Mondays with Kuumbwa\u003c/em> virtual performance series, the album features pianist Lucas Hahn and bassist Aron Caceres, Batish’s musical collaborators since junior high, and Israeli-born alto saxophonist Shay Salhov, a more recent connection who’s a generation older than his bandmates. Heady and gutsy, pensive and joyous, Indian and American, Batish’s music embraces duality as a path to a highly personal sound that promises discoveries to come.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5jowai2DVaDn3cgxigARdy?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Destroy Boys, \u003cem>Open Mouth, Open Heart\u003c/em> (Hopeless Records)\u003c/h2>\n\u003cp>With October’s \u003cem>Open Mouth, Open Heart\u003c/em>, Destroy Boys offered up 13 tracks of cathartic, angst-combating, middle-finger-pointing post-punk. The trio’s third album didn’t just signal their graduation from teen maybes to young contenders, it ignited an already faithful fanbase into a downright fervent one. And for good reason. \u003cem>Open Mouth, Open Heart\u003c/em> fearlessly combines punk rock defiance with riot grrrl snottiness, and centers it all with empathetic lyrics and stirring melodies.\u003c/p>\n\u003cp>Each song offers an unfiltered, visceral glimpse into the real-life strains and struggles of frontwoman Alexia Roditis. “Drink” is about breaking addiction cycles. “Locker Room Bully” pushes back against social media toxicity. “For What” challenges police brutality. And halfway through the album is a 50-second spoken word interlude about living with anxiety. For the first time, the band also included two Spanish language songs—“Lo peor” and “Te llevo conmigo”—to honor Roditis’ Argentinian heritage.\u003c/p>\n\u003cp>On “Escape,” the band declares: “I don’t see anyone asking anyone of any other profession, except for artists, what their plan B is … You know, I could really do without hearing that question ever again.” After \u003cem>Open Mouth, Open Heart\u003c/em>, they shouldn’t have to.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1IW9NLcYGgPBr2RRL0HML2?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Stunnaman02, \u003cem>I Gotta Feel It\u003c/em> (EMPIRE)\u003c/h2>\n\u003cp>Years from now, when we look talk about “coming out of quarantine,” we’ll get to that part in the conversation where we discuss the songs of the era. That’s when someone will mention Stunnaman02’s “Big Steppin,” and chances are they’ll \u003ca href=\"https://www.sfweekly.com/music/the-rise-of-big-steppin-stunnaman02s-viral-dance/\" target=\"_blank\" rel=\"noopener noreferrer\">hit the dance\u003c/a> that accompanies it.\u003c/p>\n\u003cp>The track has been played in clubs and brunches, and \u003ca href=\"https://www.youtube.com/watch?v=i0-23jajj0w&ab_channel=Stunnaman02%26QuakeBeatz-Topic\" target=\"_blank\" rel=\"noopener noreferrer\">remixed for the 49ers\u003c/a>. The Warriors have even danced to it on the court. Beyond the motivational lyrics and uptempo beat, it’s the dance that has really carried the song. (For 170 consecutive days, Stunnaman02 posted videos of himself “Big Steppin’” everywhere from the East Bay Hills to Hawai’i.)\u003c/p>\n\u003cp>While many artists flood the market with album after album, Stunnaman02 dropped two projects this year. “Big Steppin’” was featured on the QuakeBeatz-produced album \u003cem>I Gotta Feel It\u003c/em>. Admittedly, the lead single tends to overshadow the rest of the track list, but songs like “Buzzin’” and “Chimmy Wit It” featuring Gunna Goes Global slap nonetheless. Yet it’s “Big Steppin’” that this album will be known for. And if we’re discussing music that came out of the Bay Area in 2021, it’s mandatory that this track is mentioned.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3221812617/size=large/bgcol=ffffff/linkcol=0687f5/license_id=1640/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bachelor, \u003cem>Doomin’ Sun\u003c/em> (Polyvinyl Record Co.)\u003c/h2>\n\u003cp>If only more of 2021 lived up to the experience of listening to this album. Both intimate and expansive, \u003ci>Doomin’ Sun\u003c/i> has a track for every mood. Full of pent-up energy? Sing along to “Stay in the Car.” Need four minutes of dreamy introspection? Skip over to “Aurora.” The story behind Bachelor (Bay Area native Melina Duterte of Jay Som and Palehound’s Ellen Kempner) and their first release is one of long-term musical admiration, culminating in a two-week recording spree in January 2020. Written before lockdown and released mid-pandemic, \u003ci>Doomin’ Sun\u003c/i> is anything but dated. Duterte and Kempner’s songs about ecological collapse, queer love and the endless scroll of online life alternately shimmer and yelp, their warn and easy harmonies providing evidence of a musical collaboration I didn’t realize I was desperate to hear.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1aKVy5l48Zu3In3M0SbDEe?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>LaRussell, \u003cem>Cook Together, Eat Together\u003c/em> (Good Compenny/Corite)\u003c/h2>\n\u003cp>Some rappers brag about success. On \u003cem>Cook Together, Eat Together\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a> discusses it, analyzes it, computes it. In a steady stream of one-liners containing more truth than comedy, the Vallejo rapper has his eyes open to the world, not surprised by his success so much as gratified at the results of putting in the work. “Look at how it panned out,” he raps on the E-40 flip “Sprinkle Me,” “They offer you a seat when you stand out / Got a handful without a handout.” (The boss himself drops in for an anointing guest verse.) As the album title suggests, LaRussell puts on for his town, not least with his \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">Good Compenny video series\u003c/a>, which showcases young Bay Area talent. Like his peers, LaRussell is still hungry; across \u003cem>Cook Together\u003c/em>, his voice occasionally cracks in desperation. But it growls with determination, too. This is grown rap from a young star in the making.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3334000261/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Joel St. Julien, \u003cem>Empathy\u003c/em> (Land and Sea)\u003c/h2>\n\u003cp>At a time of national reckoning, Haitian-American composer and sound artist Joel St. Julien gives listeners the gift of compassion. On his 2021 release \u003cem>Empathy\u003c/em>, the San Francisco-based artist’s instrumental music takes listeners on a healing journey.\u003c/p>\n\u003cp>With its ambient sounds and lush synthesizers, St. Julien’s music pulls us into the present, much like meditation. On the first track, “Empathy I” the song’s sonic synths and bouncy tempos echo the rumblings of unresolved conflict. On track six, “Where I am,” the rich sounds and soothing tones convey catharsis.\u003c/p>\n\u003cp>Like therapy, \u003cem>Empathy\u003c/em> invokes a contemplative state, and St. Julien’s compositions become the catalyst for introspection, emotional examination, and resolution.\u003cem>—Juli Fraga\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=769359718/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kevin Allen, \u003cem>Nothing Lasts Forever\u003c/em> (Grand Nationxl)\u003c/h2>\n\u003cp>\u003cem>Nothing Lasts Forever\u003c/em> tells a lot of different stories about Bay Area hip-hop in 2021. For starters, it represents the fully-formed rebirth of erstwhile hyphy rapper Erk Tha Jerk as Kevin Allen. Next, it shows Allen as a master orchestrator who thoughtfully positions a cadre of ascendant artists. Among them is Ian Kelly, who hops on the jazz-inflected “Radio Raheem.” Guapdad 4000, who made noise well outside the Bay with his album \u003cem>1176\u003c/em>, is on the masterful canvas of “Unwind.” Jane Handcock, who was prominently featured on both Dame D.O.L.L.A.’s underrated \u003cem>Different On Levels The Lord Allowed\u003c/em> and on Snoop Dogg’s star-studded \u003cem>The Algorithm\u003c/em>, elevates both “Childish” and “Oh, The Irony.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the through line here is Allen. He started working on his solo album last year, before realizing that there was a legitimate collective brewing in the studio. His group Grand Nationxl’s fantastic \u003cem>Twice on Sunday\u003c/em> was born instead. Now on \u003cem>Nothing Lasts Forever\u003c/em>, the crew is back to help prop up their leader, and Allen is a sage-like presence we don’t have enough of in Bay Area rap these days. “What’s the point of having tools if you lack the screws?” he raps on album opener “Franklin Saint,” one of the many grateful moments filled with poise and commitment to what he’s building in the present. Now the challenge is to maintain longevity with it all, and with Allen at the helm, all the elements are in place.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13906845/the-10-best-bay-area-albums-of-2021","authors":["92"],"categories":["arts_1"],"tags":["arts_16311","arts_7534","arts_10342","arts_10278","arts_831","arts_6129","arts_13246","arts_16222","arts_5422"],"featImg":"arts_13906906","label":"source_arts_13906845"},"arts_13906706":{"type":"posts","id":"arts_13906706","meta":{"index":"posts_1591205157","site":"arts","id":"13906706","score":null,"sort":[1638824406000]},"guestAuthors":[],"slug":"the-year-larussell-called-his-shot","title":"The Year LaRussell Called His Shot","publishDate":1638824406,"format":"aside","headTitle":"The Year LaRussell Called His Shot | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13906893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg\" alt=\"LaRussell poses looking off camera in a stoic expression, the photo is black and white.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell. \u003ccite>(Joshua Lee Kennedy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“V\u003c/span>ALLEJO! Stand the fuck up!,” read the first sentence of a Jan. 27 \u003ca href=\"https://twitter.com/larussellgc/status/1354585740760338439?s=21\" target=\"_blank\" rel=\"noopener noreferrer\">tweet\u003c/a> from Vallejo rapper LaRussell. “We bringing trophies home this year! I don’t always win but I always take the risk, they never cheer for you until it go over the fence,” he concluded, referencing his own lyrics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Attached was a video of LaRussell behind a microphone, gassing an instrumental, one of many videos he’s posted this year.\u003c/p>\n\u003cp>But this video was different. This was his Babe Ruth moment.\u003c/p>\n\u003cp>LaRussell metaphorically stood at home plate, calling his shot as he pointed toward the center-field fence. And then he proceeded to knock the cover off the ball. Again and again, all throughout 2021.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>LaRussell went on to drop three albums this year, and built a heck of a fanbase along the way. In January, he had about 4,000 followers on Instagram. He’s sitting at nearly 75,000 as of this article. One of his most noted songs, “\u003ca href=\"https://www.youtube.com/watch?v=zk8L-CoNk2k\" target=\"_blank\" rel=\"noopener noreferrer\">Do That Lil Dance You Be Doing\u003c/a>,” has accumulated nearly 30,000 views since it dropped last December. He and the \u003ca href=\"https://www.youtube.com/c/GoodCompenny\" target=\"_blank\" rel=\"noopener noreferrer\">Good Compenny\u003c/a> team have posted over 200 videos of LaRussell and other Northern California artists performing in their studio over the past year, and they’ve been widely shared; one video \u003ca href=\"https://www.youtube.com/watch?v=umsClQ6jeAU\" target=\"_blank\" rel=\"noopener noreferrer\">featuring Shanté singing Etta James’ “I’d Rather Go Blind”\u003c/a> was reposted by Snoop Dogg back in March.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=umsClQ6jeAU\u003c/p>\n\u003cp>Something major has happened just about every month of 2021 for LaRussell and Co.\u003c/p>\n\u003cp>In July, LaRussell had a meeting and took photos with music mogul \u003ca href=\"https://twitter.com/LaRussellGC/status/1420181940393504771?s=20\">L.A. Reid\u003c/a>. In August, \u003ca href=\"https://twitter.com/LaRussellGC/status/1429139523695349761?s=20\">KMEL\u003c/a>, the cornerstone hip-hop station in Northern California, played LaRussell’s tracks “\u003ca href=\"https://www.youtube.com/watch?v=2VIsKi7AcBM\" target=\"_blank\" rel=\"noopener noreferrer\">Who’s Counting\u003c/a>,” and later followed up with “\u003ca href=\"https://www.youtube.com/watch?v=RQebKQ2LHJ4\" target=\"_blank\" rel=\"noopener noreferrer\">Talk Bout It\u003c/a>.” The next month, LaRussell was in New York, \u003ca href=\"https://www.youtube.com/watch?v=ohbFe8JsAh0\">spittin’ bars on one of the top hip-hop shows in the world, The Breakfast Club\u003c/a>. In October, he appeared alongside P-Lo and E-40, representing three generations of Bay Area hip-hop, on the song “\u003ca href=\"https://www.youtube.com/watch?v=KTjZ2FRWLdY\">Again\u003c/a>.”\u003c/p>\n\u003cp>In November, \u003ca href=\"https://twitter.com/LaRussellGC/status/1457065271798157324?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Too $hort\u003c/a> pulled up to LaRussell’s crib and took photos with his family. Shortly after, LaRussell rocked the stage at a show with the godfather of independent rap music.\u003c/p>\n\u003cp>And in late November, LaRussell announced that \u003ca href=\"https://twitter.com/LaRussellGC/status/1463579177609691138?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">he’s selling shares of his catalog\u003c/a> to fans who want to build wealth as he ascends in notoriety. Meaning that people can buy an opportunity to receive royalties from his songs, earning passive income as his music is streamed.\u003c/p>\n\u003cp>It’s an unheard of move for a budding artist. But as he often says, \u003ci>it’s different\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13906728\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg\" alt=\"LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile all this momentum was still building, \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">I wrote a column\u003c/a> about LaRussell and the Good Compenny team, highlighting his talent and the team’s unique approach to putting on others while growing themselves.\u003c/p>\n\u003cp>The article was published a day before he hit send on that tweet. Little did I know I was capturing the North Vallejo Bambino predicting the home run—or rather, the run from home he’d have this year.\u003c/p>\n\u003cp>But despite what seems like a meteoric rise, earlier this year LaRussell posted\u003ca href=\"https://www.youtube.com/watch?v=Pd75Gmo_4PM\" target=\"_blank\" rel=\"noopener noreferrer\"> a video\u003c/a> of him rapping from 10 years ago, back when he was known as Tota Shakur—evidence that his success didn’t come overnight.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pd75Gmo_4PM\u003c/p>\n\u003cp>Listen to the lyrics in his most recent music, and you’ll catch on to some of his common sayings, like “the flow is water” and “hopped in my bag,” along with one of the more notable laughs this side of Jadakiss.\u003c/p>\n\u003cp>But it’s the lines where he talks about his career being organic, getting it out the mud, building it from the ground up and clearly stating that his mom, dad and other family members and friends have supported his climb—that’s what stands out to me.\u003c/p>\n\u003cp>Seeing this support system in person was one of the highlights of watching LaRussell’s ascension this year.\u003c/p>\n\u003cp>In October, he hosted an event with a sliding-scale ticket price at Izzy’s Event Center on Georgia Street in Vallejo. I stood stage left watching LaRussell rap his ass off with one mic and some instrumentals, not rapping over his own vocals like so many rappers do. At one point I checked my watch and confirmed that he had been spitting for over an hour straight. Plus he was cracking jokes, dancing, doing call-and-response, and taking requests from people in the crowd who know his catalog by song name and project title.\u003c/p>\n\u003cfigure id=\"attachment_13906730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell-800x429.jpg\" alt=\"LaRussell performing in Vallejo, in front of a crowd of people who are holding their phones with the lights on, creating a cool illusions in the smokey room. \" width=\"800\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-1020x547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at Izzy’s Event Center in Vallejo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ceiling was low and it was hot as a firefighter’s armpits in that joint, but he was rocking. Body odor and the scent of the smoke machine were overpowered by the smell of the platter of food on the table behind me. (The catering had come compliments of his dad, standing not too far from the food.)\u003c/p>\n\u003cp>On the other side of the stage, a couple of women bounced to the music with LaRussell’s mom. One in particular gigged a lil harder when LaRussell rapped, “go auntie, go auntie, go.” She got on stage, and sure enough, it was his actual auntie. [aside postID='arts_13920004']\u003c/p>\n\u003cp>But it wasn’t just family in the building feeling themselves like yee—there were fans, longtime friends and more. \u003ca href=\"https://twitter.com/itsTOPE\" target=\"_blank\" rel=\"noopener noreferrer\">Tope\u003c/a>, the producer behind one of LaRussell’s 2021 albums, \u003cem>Cook Together, Eat Together\u003c/em>, came from Oregon for the show.\u003c/p>\n\u003cp>Two other artists who had big years were there, too. East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, who dropped \u003ci>K.E.L.L.S. Is Dead\u003c/i> in January, was in the back. Not too far from him stood \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, who dropped the album \u003ci>I Gotta Feel It\u003c/i> a few days into 2021. That project features the smash hit “Big Steppin’,” a song that’s \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\" target=\"_blank\" rel=\"noopener noreferrer\">taken over the Bay Area this year\u003c/a>.\u003c/p>\n\u003cp>Between numerous guest appearances on other projects and dropping multiple videos, Ian Kelly found time to \u003ca href=\"https://www.youtube.com/watch?v=Ew72hosrGcc\" target=\"_blank\" rel=\"noopener noreferrer\">record a cold set of bars\u003c/a> with the Good Compenny crew earlier this year.\u003c/p>\n\u003cp>And with over 170 consecutive days of the #BigSteppinChallenge, filmed with folks from here to Hawaii, Stunnaman02 and LaRussell found time to take a bike ride and record \u003ca href=\"https://twitter.com/LaRussellGC/status/1428161363138863114?s=20\">some music\u003c/a> as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6-27_FP-pLU\u003c/p>\n\u003cp>From the food LaRussell’s pop cooked to the way artists and community were cooking together, I saw what was going on. There’s a culture of mutual support naturally brewing here.\u003c/p>\n\u003cp>“You can’t tell who I don’t know at my shows,” LaRussell tells me during a phone call earlier this month. “I’m hugging everybody and chopping it up with everybody, you feel me?” He says even folks who are new to the fold get a taste of that love. “I feel like a lot of my fans ain’t fans,” LaRussell tells me. “It’s very internal, especially how I navigate and run my career. I’m so accessible.”\u003c/p>\n\u003cp>But the success is putting him and his family in circles that most people never access. He tells me about his mom meeting Too $hort and his pops meeting L.A. Reid, as well as taking the crew and family along with him on his trip to New York for the Breakfast Club appearance. “It’s becoming our new norm,” he says. “The norm that you never expected to happen.”\u003c/p>\n\u003cp>The key to not getting overwhelmed by this success, he says, is “fucking with the energy and moving accordingly.” LaRussell says that when things first started taking off, he was overwhelmed, jumping at everything. Now he’s taking time and running his own plays. And his latest play is a rare one.\u003c/p>\n\u003cfigure id=\"attachment_13906733\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/DSC01906-800x535.jpg\" alt=\"LaRussell performing at The New Parish in Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at The New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s selling shares of his catalog to people to help them build wealth as he grows as an artist. “When I make a song, there’s a 100% revenue being made,” says LaRussell, an independent artist. “I’m like fuck it, I don’t even need to make \u003ci>this\u003c/i>\u003cem> much\u003c/em>. So, let me give some to the (people) who support my music and stream it.”\u003c/p>\n\u003cp>He breaks it down like this: Imagine if you would’ve invested in Jay-Z’s music in the ’90s, and now he’s Shawn Carter. Boom, you win at life.\u003c/p>\n\u003cp>And then LaRussell introduces me to the idea of “one billion stream songs,” tracks of his like “Do That Lil Dance You Be Doing’,” that could very likely one day see a million, or even a billion streams. “Just 1% of that song can change your life,” says LaRussell.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zk8L-CoNk2k\u003c/p>\n\u003cp>He’s selling shares for $250-$1,000. He’s adamant about it being for fans, saying that he’s been contacted by investment firms and he’s given then a firm “no.”\u003c/p>\n\u003cp>He’s had to deal with some naysayers, but that comes with being innovative. And the system isn’t new. He says he’s been dividing dividends with his own team and they’ve had no issues. “It’s only an issue when (potential investors) come in with malicious intent,” says LaRussell, noting that he personally sources the offers.\u003c/p>\n\u003cp>“I talk to these people. I’m telling them what this is. This isn’t a get-rich-quick investment. Don’t give me no money if you don’t love my music and want to support me,” LaRussell tells me. “This is about building community wealth. In the span of my career, I’m probably going to change the lives of thousands of people, you know?”\u003c/p>\n\u003cp>There he is, standing at home plate, pointing even further into the distance and calling his shot once again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ohbFe8JsAh0\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>aRussell tells me that the highlight of his 2021 campaign was easily the Breakfast Club appearance. It’s not just that he got to speak his piece on a major platform, but the fact that when he picked up his daughter from school a short while later, one of the kids recognized him from that appearance.\u003c/p>\n\u003cp>“You’re not really in the game until you do certain things,” LaRussell tells me, gearing up for another sports metaphor. “You’re not great in the league until you win a ring or get MVP. And Breakfast Club, for a nigga like me, from Vallejo, that was like my ring.”\u003c/p>\n\u003cp>Knowing that in a few weeks, the calendar will flip and it’ll be a new season, I ask the Croc-sporting lyricist: what’s next?\u003c/p>\n\u003cp>He answers with a question.\u003c/p>\n\u003cp>“What are all the things people accomplish in a year? How about a career? How many albums? Award shows? Platforms?” he asks, semi-rhetorically. His initial goal was to do all that within the next year. He thought about it, and now wants to do it in three months.\u003c/p>\n\u003cp>“I know, it’s one of those things that’s not really obtainable,” LaRussell says in a rare grounded tone. “But it’s like, when you shoot for that type of goal, you can only end up better.”\u003c/p>\n\u003cp>In other words: the 2022 season starts soon.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n","blocks":[],"excerpt":"The Vallejo rapper's Babe Ruth moment came in January—and it's been home run after home run ever since.","status":"publish","parent":0,"modified":1705007420,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":45,"wordCount":2051},"headData":{"title":"The Year LaRussell Called His Shot | KQED","description":"The Vallejo rapper's Babe Ruth moment came in January—and it's been home run after home run ever since.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Year LaRussell Called His Shot","datePublished":"2021-12-06T21:00:06.000Z","dateModified":"2024-01-11T21:10:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2021 recapped","sourceUrl":"https://www.kqed.org/arts/tag/2021-recapped","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13906706/the-year-larussell-called-his-shot","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13906893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg\" alt=\"LaRussell poses looking off camera in a stoic expression, the photo is black and white.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell. \u003ccite>(Joshua Lee Kennedy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“V\u003c/span>ALLEJO! Stand the fuck up!,” read the first sentence of a Jan. 27 \u003ca href=\"https://twitter.com/larussellgc/status/1354585740760338439?s=21\" target=\"_blank\" rel=\"noopener noreferrer\">tweet\u003c/a> from Vallejo rapper LaRussell. “We bringing trophies home this year! I don’t always win but I always take the risk, they never cheer for you until it go over the fence,” he concluded, referencing his own lyrics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Attached was a video of LaRussell behind a microphone, gassing an instrumental, one of many videos he’s posted this year.\u003c/p>\n\u003cp>But this video was different. This was his Babe Ruth moment.\u003c/p>\n\u003cp>LaRussell metaphorically stood at home plate, calling his shot as he pointed toward the center-field fence. And then he proceeded to knock the cover off the ball. Again and again, all throughout 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>LaRussell went on to drop three albums this year, and built a heck of a fanbase along the way. In January, he had about 4,000 followers on Instagram. He’s sitting at nearly 75,000 as of this article. One of his most noted songs, “\u003ca href=\"https://www.youtube.com/watch?v=zk8L-CoNk2k\" target=\"_blank\" rel=\"noopener noreferrer\">Do That Lil Dance You Be Doing\u003c/a>,” has accumulated nearly 30,000 views since it dropped last December. He and the \u003ca href=\"https://www.youtube.com/c/GoodCompenny\" target=\"_blank\" rel=\"noopener noreferrer\">Good Compenny\u003c/a> team have posted over 200 videos of LaRussell and other Northern California artists performing in their studio over the past year, and they’ve been widely shared; one video \u003ca href=\"https://www.youtube.com/watch?v=umsClQ6jeAU\" target=\"_blank\" rel=\"noopener noreferrer\">featuring Shanté singing Etta James’ “I’d Rather Go Blind”\u003c/a> was reposted by Snoop Dogg back in March.\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/umsClQ6jeAU'\n title='//www.youtube.com/embed/umsClQ6jeAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Something major has happened just about every month of 2021 for LaRussell and Co.\u003c/p>\n\u003cp>In July, LaRussell had a meeting and took photos with music mogul \u003ca href=\"https://twitter.com/LaRussellGC/status/1420181940393504771?s=20\">L.A. Reid\u003c/a>. In August, \u003ca href=\"https://twitter.com/LaRussellGC/status/1429139523695349761?s=20\">KMEL\u003c/a>, the cornerstone hip-hop station in Northern California, played LaRussell’s tracks “\u003ca href=\"https://www.youtube.com/watch?v=2VIsKi7AcBM\" target=\"_blank\" rel=\"noopener noreferrer\">Who’s Counting\u003c/a>,” and later followed up with “\u003ca href=\"https://www.youtube.com/watch?v=RQebKQ2LHJ4\" target=\"_blank\" rel=\"noopener noreferrer\">Talk Bout It\u003c/a>.” The next month, LaRussell was in New York, \u003ca href=\"https://www.youtube.com/watch?v=ohbFe8JsAh0\">spittin’ bars on one of the top hip-hop shows in the world, The Breakfast Club\u003c/a>. In October, he appeared alongside P-Lo and E-40, representing three generations of Bay Area hip-hop, on the song “\u003ca href=\"https://www.youtube.com/watch?v=KTjZ2FRWLdY\">Again\u003c/a>.”\u003c/p>\n\u003cp>In November, \u003ca href=\"https://twitter.com/LaRussellGC/status/1457065271798157324?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Too $hort\u003c/a> pulled up to LaRussell’s crib and took photos with his family. Shortly after, LaRussell rocked the stage at a show with the godfather of independent rap music.\u003c/p>\n\u003cp>And in late November, LaRussell announced that \u003ca href=\"https://twitter.com/LaRussellGC/status/1463579177609691138?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">he’s selling shares of his catalog\u003c/a> to fans who want to build wealth as he ascends in notoriety. Meaning that people can buy an opportunity to receive royalties from his songs, earning passive income as his music is streamed.\u003c/p>\n\u003cp>It’s an unheard of move for a budding artist. But as he often says, \u003ci>it’s different\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13906728\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg\" alt=\"LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile all this momentum was still building, \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">I wrote a column\u003c/a> about LaRussell and the Good Compenny team, highlighting his talent and the team’s unique approach to putting on others while growing themselves.\u003c/p>\n\u003cp>The article was published a day before he hit send on that tweet. Little did I know I was capturing the North Vallejo Bambino predicting the home run—or rather, the run from home he’d have this year.\u003c/p>\n\u003cp>But despite what seems like a meteoric rise, earlier this year LaRussell posted\u003ca href=\"https://www.youtube.com/watch?v=Pd75Gmo_4PM\" target=\"_blank\" rel=\"noopener noreferrer\"> a video\u003c/a> of him rapping from 10 years ago, back when he was known as Tota Shakur—evidence that his success didn’t come overnight.\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/Pd75Gmo_4PM'\n title='//www.youtube.com/embed/Pd75Gmo_4PM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Listen to the lyrics in his most recent music, and you’ll catch on to some of his common sayings, like “the flow is water” and “hopped in my bag,” along with one of the more notable laughs this side of Jadakiss.\u003c/p>\n\u003cp>But it’s the lines where he talks about his career being organic, getting it out the mud, building it from the ground up and clearly stating that his mom, dad and other family members and friends have supported his climb—that’s what stands out to me.\u003c/p>\n\u003cp>Seeing this support system in person was one of the highlights of watching LaRussell’s ascension this year.\u003c/p>\n\u003cp>In October, he hosted an event with a sliding-scale ticket price at Izzy’s Event Center on Georgia Street in Vallejo. I stood stage left watching LaRussell rap his ass off with one mic and some instrumentals, not rapping over his own vocals like so many rappers do. At one point I checked my watch and confirmed that he had been spitting for over an hour straight. Plus he was cracking jokes, dancing, doing call-and-response, and taking requests from people in the crowd who know his catalog by song name and project title.\u003c/p>\n\u003cfigure id=\"attachment_13906730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell-800x429.jpg\" alt=\"LaRussell performing in Vallejo, in front of a crowd of people who are holding their phones with the lights on, creating a cool illusions in the smokey room. \" width=\"800\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-1020x547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at Izzy’s Event Center in Vallejo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ceiling was low and it was hot as a firefighter’s armpits in that joint, but he was rocking. Body odor and the scent of the smoke machine were overpowered by the smell of the platter of food on the table behind me. (The catering had come compliments of his dad, standing not too far from the food.)\u003c/p>\n\u003cp>On the other side of the stage, a couple of women bounced to the music with LaRussell’s mom. One in particular gigged a lil harder when LaRussell rapped, “go auntie, go auntie, go.” She got on stage, and sure enough, it was his actual auntie. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13920004","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it wasn’t just family in the building feeling themselves like yee—there were fans, longtime friends and more. \u003ca href=\"https://twitter.com/itsTOPE\" target=\"_blank\" rel=\"noopener noreferrer\">Tope\u003c/a>, the producer behind one of LaRussell’s 2021 albums, \u003cem>Cook Together, Eat Together\u003c/em>, came from Oregon for the show.\u003c/p>\n\u003cp>Two other artists who had big years were there, too. East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, who dropped \u003ci>K.E.L.L.S. Is Dead\u003c/i> in January, was in the back. Not too far from him stood \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, who dropped the album \u003ci>I Gotta Feel It\u003c/i> a few days into 2021. That project features the smash hit “Big Steppin’,” a song that’s \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\" target=\"_blank\" rel=\"noopener noreferrer\">taken over the Bay Area this year\u003c/a>.\u003c/p>\n\u003cp>Between numerous guest appearances on other projects and dropping multiple videos, Ian Kelly found time to \u003ca href=\"https://www.youtube.com/watch?v=Ew72hosrGcc\" target=\"_blank\" rel=\"noopener noreferrer\">record a cold set of bars\u003c/a> with the Good Compenny crew earlier this year.\u003c/p>\n\u003cp>And with over 170 consecutive days of the #BigSteppinChallenge, filmed with folks from here to Hawaii, Stunnaman02 and LaRussell found time to take a bike ride and record \u003ca href=\"https://twitter.com/LaRussellGC/status/1428161363138863114?s=20\">some music\u003c/a> as well.\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/6-27_FP-pLU'\n title='//www.youtube.com/embed/6-27_FP-pLU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the food LaRussell’s pop cooked to the way artists and community were cooking together, I saw what was going on. There’s a culture of mutual support naturally brewing here.\u003c/p>\n\u003cp>“You can’t tell who I don’t know at my shows,” LaRussell tells me during a phone call earlier this month. “I’m hugging everybody and chopping it up with everybody, you feel me?” He says even folks who are new to the fold get a taste of that love. “I feel like a lot of my fans ain’t fans,” LaRussell tells me. “It’s very internal, especially how I navigate and run my career. I’m so accessible.”\u003c/p>\n\u003cp>But the success is putting him and his family in circles that most people never access. He tells me about his mom meeting Too $hort and his pops meeting L.A. Reid, as well as taking the crew and family along with him on his trip to New York for the Breakfast Club appearance. “It’s becoming our new norm,” he says. “The norm that you never expected to happen.”\u003c/p>\n\u003cp>The key to not getting overwhelmed by this success, he says, is “fucking with the energy and moving accordingly.” LaRussell says that when things first started taking off, he was overwhelmed, jumping at everything. Now he’s taking time and running his own plays. And his latest play is a rare one.\u003c/p>\n\u003cfigure id=\"attachment_13906733\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/DSC01906-800x535.jpg\" alt=\"LaRussell performing at The New Parish in Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at The New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s selling shares of his catalog to people to help them build wealth as he grows as an artist. “When I make a song, there’s a 100% revenue being made,” says LaRussell, an independent artist. “I’m like fuck it, I don’t even need to make \u003ci>this\u003c/i>\u003cem> much\u003c/em>. So, let me give some to the (people) who support my music and stream it.”\u003c/p>\n\u003cp>He breaks it down like this: Imagine if you would’ve invested in Jay-Z’s music in the ’90s, and now he’s Shawn Carter. Boom, you win at life.\u003c/p>\n\u003cp>And then LaRussell introduces me to the idea of “one billion stream songs,” tracks of his like “Do That Lil Dance You Be Doing’,” that could very likely one day see a million, or even a billion streams. “Just 1% of that song can change your life,” says LaRussell.\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/zk8L-CoNk2k'\n title='//www.youtube.com/embed/zk8L-CoNk2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s selling shares for $250-$1,000. He’s adamant about it being for fans, saying that he’s been contacted by investment firms and he’s given then a firm “no.”\u003c/p>\n\u003cp>He’s had to deal with some naysayers, but that comes with being innovative. And the system isn’t new. He says he’s been dividing dividends with his own team and they’ve had no issues. “It’s only an issue when (potential investors) come in with malicious intent,” says LaRussell, noting that he personally sources the offers.\u003c/p>\n\u003cp>“I talk to these people. I’m telling them what this is. This isn’t a get-rich-quick investment. Don’t give me no money if you don’t love my music and want to support me,” LaRussell tells me. “This is about building community wealth. In the span of my career, I’m probably going to change the lives of thousands of people, you know?”\u003c/p>\n\u003cp>There he is, standing at home plate, pointing even further into the distance and calling his shot once again.\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/ohbFe8JsAh0'\n title='//www.youtube.com/embed/ohbFe8JsAh0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>aRussell tells me that the highlight of his 2021 campaign was easily the Breakfast Club appearance. It’s not just that he got to speak his piece on a major platform, but the fact that when he picked up his daughter from school a short while later, one of the kids recognized him from that appearance.\u003c/p>\n\u003cp>“You’re not really in the game until you do certain things,” LaRussell tells me, gearing up for another sports metaphor. “You’re not great in the league until you win a ring or get MVP. And Breakfast Club, for a nigga like me, from Vallejo, that was like my ring.”\u003c/p>\n\u003cp>Knowing that in a few weeks, the calendar will flip and it’ll be a new season, I ask the Croc-sporting lyricist: what’s next?\u003c/p>\n\u003cp>He answers with a question.\u003c/p>\n\u003cp>“What are all the things people accomplish in a year? How about a career? How many albums? Award shows? Platforms?” he asks, semi-rhetorically. His initial goal was to do all that within the next year. He thought about it, and now wants to do it in three months.\u003c/p>\n\u003cp>“I know, it’s one of those things that’s not really obtainable,” LaRussell says in a rare grounded tone. “But it’s like, when you shoot for that type of goal, you can only end up better.”\u003c/p>\n\u003cp>In other words: the 2022 season starts soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13906706/the-year-larussell-called-his-shot","authors":["11491"],"categories":["arts_1","arts_69"],"tags":["arts_16311","arts_10342","arts_10278","arts_831","arts_6129","arts_13246","arts_1220","arts_12987","arts_16222","arts_3478","arts_3800"],"featImg":"arts_13906892","label":"source_arts_13906706"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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