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"content": "\u003cfigure id=\"attachment_13976155\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley.jpg\" alt=\"Album cover: Four band members stand in front of a brick wall in a photo from the late '90s.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Rilo Kiley’s new greatest hits album, ‘That’s How We Choose to Remember It,’ released on May 9, 2025. The legendary indie rock band’s reunion tour comes to Berkeley on Oct. 16. \u003ccite>(Courtesy of Rilo Kiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When legendary early-aughts \u003ca href=\"https://www.kqed.org/arts/tag/indie-rock\">indie rock\u003c/a> band Rilo Kiley announced its first slate of concerts since 2008 earlier this year, Bay Area fans pored through the schedule in disappointment: The closest the long-awaited reunion tour would be coming to the Bay was a May 5 \u003ca href=\"https://www.rollingstone.com/music/music-live-reviews/rilo-kiley-reunion-tour-concert-set-list-1235327785/\">kick-off show in San Luis Obispo\u003c/a>.\u003c/p>\n\u003cp>Here’s good news, then: The band just added six new tour dates in the fall, and one of them will be an \u003ca href=\"https://www.ticketmaster.com/event/1C0062A8F5EE5BDE\">Oct. 16 show\u003c/a> at the Greek Theatre in Berkeley. \u003ca href=\"https://www.nytimes.com/2020/04/01/arts/music/waxahatchee-saint-cloud-review.html\">Waxahatchee\u003c/a>, a recent \u003ca href=\"https://www.youtube.com/watch?v=ps1f7p720FA\">Tiny Desk performer\u003c/a> and indie cult favorite in its own right, will open.\u003c/p>\n\u003cp>Fronted by lead vocalist Jenny Lewis and guitarist Blake Sennett — both former child actors — Rilo Kiley rose to prominence in the early 2000s on the strength of its \u003ca href=\"https://www.youtube.com/watch?v=g8uHbf0TkQY\">smart, often darkly humorous lyrics\u003c/a> about finding one’s place in the world, and Lewis’ \u003ca href=\"https://www.youtube.com/watch?v=5J-hXw5UpQU\">soaring vocals\u003c/a>. Famously, the band broke up right after the tour promoting its most commercially successful album, \u003cem>Under the Blacklight,\u003c/em> due to long-simmering tensions between Lewis and Sennett.\u003c/p>\n\u003cp>But when the four original band members\u003ca href=\"https://www.nytimes.com/2025/04/29/arts/music/rilo-kiley-reunion-tour.html\"> reconnected during the pandemic\u003c/a>, enough time had passed for them to feel nostalgic about the possibility of a reunion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g8uHbf0TkQY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It couldn’t have happened any sooner,” Lewis told former \u003cem>Pitchfork\u003c/em> staff writer Quinn Moreland in the band’s \u003ca href=\"https://www.rilokiley.com/copy-of-about\">comeback announcement\u003c/a>. “It feels like now is the time to share that joy and love with each other and with everyone else.”\u003c/p>\n\u003cp>In parallel with the reunion tour, the band released a self-curated greatest hits album, \u003ca href=\"https://rilokiley.bandcamp.com/album/thats-how-we-choose-to-remember-it\">\u003ci>That’s How We Choose to Remember It\u003c/i>\u003c/a>, on May 9.\u003c/p>\n\u003cp>Here’s what you need to know about snagging tickets for Rilo Kiley’s Oct. 16 show in Berkeley: \u003ca href=\"https://www.ticketmaster.com/event/1C0062A8F5EE5BDE\">Presale tickets\u003c/a> are currently available through Ticketmaster using the the band’s presale code, “Foxes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another Planet Entertainment, the concert’s co-producer, has its own presale starting on Thursday, May 15 at 10 a.m. using the code “silverlining.” Meanwhile, general ticket sales for the show open up on Friday, May 16 at 10 a.m.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It couldn’t have happened any sooner,” Lewis told former \u003cem>Pitchfork\u003c/em> staff writer Quinn Moreland in the band’s \u003ca href=\"https://www.rilokiley.com/copy-of-about\">comeback announcement\u003c/a>. “It feels like now is the time to share that joy and love with each other and with everyone else.”\u003c/p>\n\u003cp>In parallel with the reunion tour, the band released a self-curated greatest hits album, \u003ca href=\"https://rilokiley.bandcamp.com/album/thats-how-we-choose-to-remember-it\">\u003ci>That’s How We Choose to Remember It\u003c/i>\u003c/a>, on May 9.\u003c/p>\n\u003cp>Here’s what you need to know about snagging tickets for Rilo Kiley’s Oct. 16 show in Berkeley: \u003ca href=\"https://www.ticketmaster.com/event/1C0062A8F5EE5BDE\">Presale tickets\u003c/a> are currently available through Ticketmaster using the the band’s presale code, “Foxes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another Planet Entertainment, the concert’s co-producer, has its own presale starting on Thursday, May 15 at 10 a.m. using the code “silverlining.” Meanwhile, general ticket sales for the show open up on Friday, May 16 at 10 a.m.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13975912\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975912\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1.jpg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In Berkeley, Heyma Yemeni Coffee combines both traditional and contemporary aspects of Yemeni coffee culture. \u003ccite>(Wahab Algarmi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week they were joined by guest artist \u003c/i>\u003ca href=\"https://www.instagram.com/wahabalg/\">\u003ci>Wahab Algarmi\u003c/i>\u003c/a>\u003ci>, whose debut middle grade graphic novel, \u003c/i>\u003ca href=\"https://www.harpercollins.com/products/almost-sunset-wahab-algarmi?variant=42563431989282\">Almost Sunset\u003c/a>\u003ci>, is available in bookstores now. \u003c/i>\u003c/p>\n\u003cp>In a college town like Berkeley, a \u003ca href=\"https://www.kqed.org/arts/tag/coffee-shops\">coffee shop\u003c/a> open past 10 o’clock at night is a precious commodity. These days, night owl students looking for a place to caffeinate and park their laptops for a couple of hours are more than likely to find themselves at one type of cafe in particular: a Yemeni coffee house.\u003c/p>\n\u003cp>So when we dropped by \u003ca href=\"https://www.instagram.com/heymacoffee/\">Heyma Yemeni Coffee\u003c/a> on a late Sunday night shortly before finals week at UC Berkeley, it was both surprising and completely \u003ci>unsurprising\u003c/i> to see how packed the place was, with a throng of undergrads waiting in line to buy blistering-hot cups of coffee infused with cardamom and maybe a honey-soaked pastry for good measure.\u003c/p>\n\u003cp>If you’ve been paying attention to the local coffee scene, you might know that Heyma is one of the dozen or so \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/yemeni-coffee-shop-cafe-18270887.php\">Yemeni coffee shops\u003c/a> that have opened in the Bay Area, all in the past three years, at a rate that only seems to be accelerating. They all have a similar vibe, with their Arab design elements and menus heavy on spiced coffees and the same handful of Yemeni pastries.\u003c/p>\n\u003cp>At Heyma, the design is the first thing you notice — the cozy little alcoves lined with black-and-gold arabesque and, in the center of the room, the traditional U-shaped Majlis sofa, where a couple of college kids were sprawled out with their MacBooks. Still, at first glance, you might mistake the place for any other trendy Gen Z cafe or boba shop. The emphasis of the branding and the menu is skewed toward the kinds of flashy drinks and desserts currently popular on TikTok and Instagram: There are matcha lattes and Redbull mojitos, and we spotted at least three or four variations on \u003ca href=\"https://www.nytimes.com/2025/01/23/dining/dubai-chocolate-cant-get-knafeh-it.html\">Dubai chocolate\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13975914\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975914\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2.jpg\" alt='Illustration: The exterior of a busy coffee shop lit up at night. The sign says, \"Heyma Coffee & Tea\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Heyma stays open until midnight on weekends. \u003ccite>(Wahab Algarmi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, it’s clear that this is a place of real cultural pride. Just inside the entrance, a large sign summarizes the long history of coffee in Yemen, where 15th century Sufi monks were believed to be the \u003ca href=\"https://www.undp.org/stories/yemeni-coffee-personal-us\">first people to cultivate it\u003c/a> as a beverage. Above the counter, a poem in untranslated Arabic — “\u003ca href=\"https://www.youtube.com/watch?v=LNxDY8jIpCE\">Love and Coffee\u003c/a>,” by the Yemeni poet Mutaher Ali Al-Eryani — celebrates the joy of the coffee harvest. At the bottom of the digital menu board, it says simply, “Free Palestine.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The demographics of the shop’s clientele reflects this mix of influences. During our visit, about half the customers were the same laptop-toting college kids you’ll find at any late-night cafe in Berkeley. The other half consisted of Arab Americans of all ages just hanging out, including one big family that came in at around 10 o’clock, kids clambering over the sofa, everyone dressed up as though they’d just come from the symphony. They ordered such a big spread of food, the staff brought it out in a wooden crate.\u003c/p>\n\u003cp>When the Arabic speaker in our group asked one of the shop’s young Yemeni American baristas whether they sell any drinks that are uniquely Yemeni, he was quick to recommend an off-menu limeade — just lime juice, water and sugar (perhaps a little bit of cream?), whirred in a blender until light and frothy. It’s the same drink you’ll find on any street corner in Yemen, we were told. And it was incredibly refreshing, easily the best drink we had all night.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13975308,arts_13954597,arts_13966812']\u003c/span>\u003c/span>Meanwhile, the most striking of the pastries was the honeycomb: dough balls stuffed with cream cheese, arranged into a pleasingly geometric cake-slice shape, drizzled with honey, and then blasted in the oven until everything puffs up golden-brown. It was fun pulling the balls apart at the table, like monkey bread; each bite struck a nice balance between sweet and savory. If you want a toasty carb bomb that’s purely savory, the oniony beef sambusas and boat-shaped cheese manakish both hit the spot.\u003c/p>\n\u003cp>Heyma also goes straight to the top of the list of places I’ll hit up when I’m in the mood for cake at 11 o’clock at night (which for me is at least two or three nights a week). Among the many Dubai chocolate riffs on the menu, we wound up ordering a slice of green and black Dubai chocolate cheesecake, which was as tasty as it was aesthetically pleasing (if perhaps not as pistachio-y as we would have liked). My favorite, though, was the saffron milk cake — one of the many tres-leches-like cakes that the shop sells. It came soaked through with milk and sweet condensed milk and topped with a layer of whipped cream, and was so impossibly moist and airy-light, I would have happily eaten two more slices.\u003c/p>\n\u003cp>Of course, you can’t talk about a Yemeni coffee shop without trying the coffee itself, even if it is 11 p.m. on a work night. And here’s where I have to admit my own hubris: In my desire to try a swath of the menu, I ordered — and finished — not one but two of Heyma’s coffee drinks. First, I had the cardamom and cinnamon–infused Heyma Latte, whose spiced sweetness reminded me of drinks I’ve had at other second-generation diasporic Yemeni and Palestinian cafes. And then the mufawaar, a more traditional medium-roast coffee brewed with cardamom and cream. It was wonderfully fragrant and, as it turns out, very, very strong.\u003c/p>\n\u003cp>I enjoyed both drinks very much at the time. And I enjoyed reminiscing about them, too, a little while later, when I lay in bed wide awake at 3 a.m.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/heymacoffee/\">\u003ci>Heyma Yemeni Coffee\u003c/i>\u003c/a>\u003ci> is open Monday through Thursday 7:30 a.m.–11:30 p.m., Friday 7:30 a.m.–midnight, Saturday 8 a.m.-midnight, and Sunday 8 a.m.–11 p.m. at 1122 University Ave. in Berkeley. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13975912\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975912\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1.jpg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In Berkeley, Heyma Yemeni Coffee combines both traditional and contemporary aspects of Yemeni coffee culture. \u003ccite>(Wahab Algarmi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week they were joined by guest artist \u003c/i>\u003ca href=\"https://www.instagram.com/wahabalg/\">\u003ci>Wahab Algarmi\u003c/i>\u003c/a>\u003ci>, whose debut middle grade graphic novel, \u003c/i>\u003ca href=\"https://www.harpercollins.com/products/almost-sunset-wahab-algarmi?variant=42563431989282\">Almost Sunset\u003c/a>\u003ci>, is available in bookstores now. \u003c/i>\u003c/p>\n\u003cp>In a college town like Berkeley, a \u003ca href=\"https://www.kqed.org/arts/tag/coffee-shops\">coffee shop\u003c/a> open past 10 o’clock at night is a precious commodity. These days, night owl students looking for a place to caffeinate and park their laptops for a couple of hours are more than likely to find themselves at one type of cafe in particular: a Yemeni coffee house.\u003c/p>\n\u003cp>So when we dropped by \u003ca href=\"https://www.instagram.com/heymacoffee/\">Heyma Yemeni Coffee\u003c/a> on a late Sunday night shortly before finals week at UC Berkeley, it was both surprising and completely \u003ci>unsurprising\u003c/i> to see how packed the place was, with a throng of undergrads waiting in line to buy blistering-hot cups of coffee infused with cardamom and maybe a honey-soaked pastry for good measure.\u003c/p>\n\u003cp>If you’ve been paying attention to the local coffee scene, you might know that Heyma is one of the dozen or so \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/yemeni-coffee-shop-cafe-18270887.php\">Yemeni coffee shops\u003c/a> that have opened in the Bay Area, all in the past three years, at a rate that only seems to be accelerating. They all have a similar vibe, with their Arab design elements and menus heavy on spiced coffees and the same handful of Yemeni pastries.\u003c/p>\n\u003cp>At Heyma, the design is the first thing you notice — the cozy little alcoves lined with black-and-gold arabesque and, in the center of the room, the traditional U-shaped Majlis sofa, where a couple of college kids were sprawled out with their MacBooks. Still, at first glance, you might mistake the place for any other trendy Gen Z cafe or boba shop. The emphasis of the branding and the menu is skewed toward the kinds of flashy drinks and desserts currently popular on TikTok and Instagram: There are matcha lattes and Redbull mojitos, and we spotted at least three or four variations on \u003ca href=\"https://www.nytimes.com/2025/01/23/dining/dubai-chocolate-cant-get-knafeh-it.html\">Dubai chocolate\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13975914\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975914\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2.jpg\" alt='Illustration: The exterior of a busy coffee shop lit up at night. The sign says, \"Heyma Coffee & Tea\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/heyma-2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Heyma stays open until midnight on weekends. \u003ccite>(Wahab Algarmi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, it’s clear that this is a place of real cultural pride. Just inside the entrance, a large sign summarizes the long history of coffee in Yemen, where 15th century Sufi monks were believed to be the \u003ca href=\"https://www.undp.org/stories/yemeni-coffee-personal-us\">first people to cultivate it\u003c/a> as a beverage. Above the counter, a poem in untranslated Arabic — “\u003ca href=\"https://www.youtube.com/watch?v=LNxDY8jIpCE\">Love and Coffee\u003c/a>,” by the Yemeni poet Mutaher Ali Al-Eryani — celebrates the joy of the coffee harvest. At the bottom of the digital menu board, it says simply, “Free Palestine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The demographics of the shop’s clientele reflects this mix of influences. During our visit, about half the customers were the same laptop-toting college kids you’ll find at any late-night cafe in Berkeley. The other half consisted of Arab Americans of all ages just hanging out, including one big family that came in at around 10 o’clock, kids clambering over the sofa, everyone dressed up as though they’d just come from the symphony. They ordered such a big spread of food, the staff brought it out in a wooden crate.\u003c/p>\n\u003cp>When the Arabic speaker in our group asked one of the shop’s young Yemeni American baristas whether they sell any drinks that are uniquely Yemeni, he was quick to recommend an off-menu limeade — just lime juice, water and sugar (perhaps a little bit of cream?), whirred in a blender until light and frothy. It’s the same drink you’ll find on any street corner in Yemen, we were told. And it was incredibly refreshing, easily the best drink we had all night.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Meanwhile, the most striking of the pastries was the honeycomb: dough balls stuffed with cream cheese, arranged into a pleasingly geometric cake-slice shape, drizzled with honey, and then blasted in the oven until everything puffs up golden-brown. It was fun pulling the balls apart at the table, like monkey bread; each bite struck a nice balance between sweet and savory. If you want a toasty carb bomb that’s purely savory, the oniony beef sambusas and boat-shaped cheese manakish both hit the spot.\u003c/p>\n\u003cp>Heyma also goes straight to the top of the list of places I’ll hit up when I’m in the mood for cake at 11 o’clock at night (which for me is at least two or three nights a week). Among the many Dubai chocolate riffs on the menu, we wound up ordering a slice of green and black Dubai chocolate cheesecake, which was as tasty as it was aesthetically pleasing (if perhaps not as pistachio-y as we would have liked). My favorite, though, was the saffron milk cake — one of the many tres-leches-like cakes that the shop sells. It came soaked through with milk and sweet condensed milk and topped with a layer of whipped cream, and was so impossibly moist and airy-light, I would have happily eaten two more slices.\u003c/p>\n\u003cp>Of course, you can’t talk about a Yemeni coffee shop without trying the coffee itself, even if it is 11 p.m. on a work night. And here’s where I have to admit my own hubris: In my desire to try a swath of the menu, I ordered — and finished — not one but two of Heyma’s coffee drinks. First, I had the cardamom and cinnamon–infused Heyma Latte, whose spiced sweetness reminded me of drinks I’ve had at other second-generation diasporic Yemeni and Palestinian cafes. And then the mufawaar, a more traditional medium-roast coffee brewed with cardamom and cream. It was wonderfully fragrant and, as it turns out, very, very strong.\u003c/p>\n\u003cp>I enjoyed both drinks very much at the time. And I enjoyed reminiscing about them, too, a little while later, when I lay in bed wide awake at 3 a.m.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/heymacoffee/\">\u003ci>Heyma Yemeni Coffee\u003c/i>\u003c/a>\u003ci> is open Monday through Thursday 7:30 a.m.–11:30 p.m., Friday 7:30 a.m.–midnight, Saturday 8 a.m.-midnight, and Sunday 8 a.m.–11 p.m. at 1122 University Ave. in Berkeley. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Crixa Cakes Was My Favorite Bay Area Bakery. Now It's Closing",
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"headTitle": "Crixa Cakes Was My Favorite Bay Area Bakery. Now It’s Closing | KQED",
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"content": "\u003cfigure id=\"attachment_13975876\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior.jpg\" alt='Exterior of bakery. The sign reads \"Crixa Cakes.\"' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crixa Cakes, a Berkeley institution since 1998, will close on May 10, 2025. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past 15 years, my family has had exactly three \u003ca href=\"https://www.kqed.org/arts/tag/thanksgiving\">Thanksgiving\u003c/a> rituals: a potluck dinner with the Kaye-Hsu family, morning-after turkey jook and, most important of all, a deep-dish pumpkin pie from Crixa Cakes in Berkeley. Two of the Crixa pies, preferably.\u003c/p>\n\u003cp>What a marvel those hefty, thick-crusted beauties were — the filling sweet but not-too-sweet and preternaturally smooth; the tender, buttery crust \u003ci>plentiful \u003c/i>(as the pastry gods intended) and slightly soggy on the inside. It’s as delicious eaten on a stomach completely stuffed full of turkey and green bean casserole as it is nibbled on sneakily, a day or two later, standing in front of the fridge at midnight. I’ve gone so far as to proclaim it the \u003ca href=\"https://www.instagram.com/p/CyMZZYOymAU/\">greatest pumpkin pie on earth\u003c/a>.\u003c/p>\n\u003cp>You can imagine our collective distress, then, when we got word, via an email newsletter sent out two weeks ago and \u003ca href=\"https://www.crixacakes.com/s/stories/crixa-crossroads-ahead\">posted on the bakery’s website\u003c/a>, that Crixa will be closing its doors for the foreseeable future after \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/crixa-cakes-closing-20310841.php\">27 years in Berkeley\u003c/a>. Its last day of business will be Saturday, May 10.\u003c/p>\n\u003cfigure id=\"attachment_13975877\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975877\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie.jpg\" alt=\"Whole deep-dish style pumpkin pie in the box.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The beloved deep dish style pumpkin pie. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their note, co-owners Zoltan Der and Elizabeth Kloian said they “no longer want to do business with [their] landlord” and won’t extend their lease when it expires at the end of the month.\u003c/p>\n\u003cp>It marks the end of an era, then, for one of Berkeley’s most classic food institutions. Funnily enough, as much as I love that pumpkin pie, it probably wasn’t even one of the bakery’s most famous items. If anything, the summer pies — a gooey showcase for peak-season berries and stone fruit — are even more spectacular than the pumpkin. Beyond that, Crixa is an Eastern and Central European bakery first and foremost, specializing in hard-to-find, intricately spiced Old World delicacies like poppyseed kifli, plum-and-custard kolaches, saffron buns and kirsch-soaked vanilla chiffon cake.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13954342,arts_13958926']\u003c/span>\u003c/span>What I appreciated just as much as the cakes and pastries themselves, however, was Crixa’s utter indifference to any kind of trendiness or ingratiation. Der and Kloaian ran the place with a brand of taciturn stoicism I couldn’t help but admire — always polite but never overfamiliar, even with longtime regulars. On Saturday mornings, I’d show up at around 11:30, when the pies came out of the oven; grab a number; and then wait patiently in the long, orderly line that curved around the outside of the bakery. God help the wayward customer who tried to cut in line for a pickup order, or otherwise subvert their carefully calibrated rules and systems: You’d get a stern talking-to, and you’d almost certainly deserve it.\u003c/p>\n\u003cfigure id=\"attachment_13975878\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake.jpg\" alt=\"Strawberry cream cake inside a display case.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crixa’s strawberry cream cake, one of its many Eastern European–style desserts. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those kinds of idiosyncrasies only made me love the place even more. All told, Crixa has been my favorite bakery in Berkeley, the East Bay and quite possibly the entire Bay Area. And now it simply won’t exist.\u003c/p>\n\u003cp>In their farewell message, Der and Kloian did leave open the possibility of reopening in a new location at a future date. For now, however, they say they’ll focus on writing a Crixa Cakes cookbook and wrapping up their last few days of business. One thing’s for certain: The line outside the bakery these final days, full of Crixa superfans — myself included — hoping for one last slice of pie, will be as long as it has ever been.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.crixacakes.com/\">\u003ci>Crixa Cakes\u003c/i>\u003c/a>\u003ci> is open Wednesday to Saturday, 11:30 a.m.–3 p.m. The bakery’s final day of business will be Saturday, May 10.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13975876\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior.jpg\" alt='Exterior of bakery. The sign reads \"Crixa Cakes.\"' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-exterior-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crixa Cakes, a Berkeley institution since 1998, will close on May 10, 2025. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past 15 years, my family has had exactly three \u003ca href=\"https://www.kqed.org/arts/tag/thanksgiving\">Thanksgiving\u003c/a> rituals: a potluck dinner with the Kaye-Hsu family, morning-after turkey jook and, most important of all, a deep-dish pumpkin pie from Crixa Cakes in Berkeley. Two of the Crixa pies, preferably.\u003c/p>\n\u003cp>What a marvel those hefty, thick-crusted beauties were — the filling sweet but not-too-sweet and preternaturally smooth; the tender, buttery crust \u003ci>plentiful \u003c/i>(as the pastry gods intended) and slightly soggy on the inside. It’s as delicious eaten on a stomach completely stuffed full of turkey and green bean casserole as it is nibbled on sneakily, a day or two later, standing in front of the fridge at midnight. I’ve gone so far as to proclaim it the \u003ca href=\"https://www.instagram.com/p/CyMZZYOymAU/\">greatest pumpkin pie on earth\u003c/a>.\u003c/p>\n\u003cp>You can imagine our collective distress, then, when we got word, via an email newsletter sent out two weeks ago and \u003ca href=\"https://www.crixacakes.com/s/stories/crixa-crossroads-ahead\">posted on the bakery’s website\u003c/a>, that Crixa will be closing its doors for the foreseeable future after \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/crixa-cakes-closing-20310841.php\">27 years in Berkeley\u003c/a>. Its last day of business will be Saturday, May 10.\u003c/p>\n\u003cfigure id=\"attachment_13975877\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975877\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie.jpg\" alt=\"Whole deep-dish style pumpkin pie in the box.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-pie-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The beloved deep dish style pumpkin pie. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their note, co-owners Zoltan Der and Elizabeth Kloian said they “no longer want to do business with [their] landlord” and won’t extend their lease when it expires at the end of the month.\u003c/p>\n\u003cp>It marks the end of an era, then, for one of Berkeley’s most classic food institutions. Funnily enough, as much as I love that pumpkin pie, it probably wasn’t even one of the bakery’s most famous items. If anything, the summer pies — a gooey showcase for peak-season berries and stone fruit — are even more spectacular than the pumpkin. Beyond that, Crixa is an Eastern and Central European bakery first and foremost, specializing in hard-to-find, intricately spiced Old World delicacies like poppyseed kifli, plum-and-custard kolaches, saffron buns and kirsch-soaked vanilla chiffon cake.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>What I appreciated just as much as the cakes and pastries themselves, however, was Crixa’s utter indifference to any kind of trendiness or ingratiation. Der and Kloaian ran the place with a brand of taciturn stoicism I couldn’t help but admire — always polite but never overfamiliar, even with longtime regulars. On Saturday mornings, I’d show up at around 11:30, when the pies came out of the oven; grab a number; and then wait patiently in the long, orderly line that curved around the outside of the bakery. God help the wayward customer who tried to cut in line for a pickup order, or otherwise subvert their carefully calibrated rules and systems: You’d get a stern talking-to, and you’d almost certainly deserve it.\u003c/p>\n\u003cfigure id=\"attachment_13975878\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake.jpg\" alt=\"Strawberry cream cake inside a display case.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/crixa-cream-cake-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crixa’s strawberry cream cake, one of its many Eastern European–style desserts. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those kinds of idiosyncrasies only made me love the place even more. All told, Crixa has been my favorite bakery in Berkeley, the East Bay and quite possibly the entire Bay Area. And now it simply won’t exist.\u003c/p>\n\u003cp>In their farewell message, Der and Kloian did leave open the possibility of reopening in a new location at a future date. For now, however, they say they’ll focus on writing a Crixa Cakes cookbook and wrapping up their last few days of business. One thing’s for certain: The line outside the bakery these final days, full of Crixa superfans — myself included — hoping for one last slice of pie, will be as long as it has ever been.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.crixacakes.com/\">\u003ci>Crixa Cakes\u003c/i>\u003c/a>\u003ci> is open Wednesday to Saturday, 11:30 a.m.–3 p.m. The bakery’s final day of business will be Saturday, May 10.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "uc-berkeley-campus-political-projection-art-michele-pred-day-of-action",
"title": "Artist Projects ‘Money for Science, Not Oligarchs’ onto UC Berkeley Building",
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"headTitle": "Artist Projects ‘Money for Science, Not Oligarchs’ onto UC Berkeley Building | KQED",
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"content": "\u003cfigure id=\"attachment_13974830\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974830\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science.jpeg\" alt=\"A projection reading ‘Money for science, not oligarchs’ on a building at UC Berkeley.\" width=\"2000\" height=\"1923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-800x769.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-1020x981.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-160x154.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-768x738.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-1536x1477.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-1920x1846.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Money for science, not oligarghs’ by Michele Pred, projected onto a UC Berkeley building, April 2025. \u003ccite>(Courtesy of Michele Pred)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last night, in solidarity with the \u003ca href=\"https://www.dayofactionforhighered.org/\">National Day of Action for Higher Education\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/tag/berkeley\">Berkeley\u003c/a>-based artist \u003ca href=\"https://michelepred.com/home.html\">Michele Pred\u003c/a> projected the phrase “Money For Science, Not Oligarchs” onto \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">UC Berkeley\u003c/a>‘s Sproul Hall.\u003c/p>\n\u003cp>[aside postid='arts_12900447']The \u003ca href=\"https://speaklearnteach.org/\">Berkeley Faculty for the Freedom to Learn\u003c/a> held \u003ca href=\"https://speaklearnteach.org/2025/04/16/4-17-rise-up-for-education-rally-teach-ins/\">a rally\u003c/a> on Sproul Plaza earlier in the day, in protest of the recent \u003ca href=\"https://www.kqed.org/arts/13974031/new-gaza-documentary-columbia-university-protests-the-encampments\">detention and deportation of several international students\u003c/a> around the country. The rally, part of a national day of action for higher education, sought to “defend basic principles and freedoms” and “to manifest what \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">UC Berkeley\u003c/a> can and must be,” according to a statement from the organizers.\u003c/p>\n\u003cp>“Right now, higher education is really getting attacked in terms of funding and federal grants,” Pred said in a phone interview. “It’s outrageous and frightening to have science funding cut this way. There are thousands of important research projects that are losing money, or have already lost money. We’re in a crisis.”\u003c/p>\n\u003cp>Pred’s UC Berkeley projection was not her first. For the past six months, the conceptual artist has been projecting political statements onto public property around the country in response to a variety of issues dear to her heart.\u003c/p>\n\u003cfigure id=\"attachment_13974745\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13974745 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay.jpg\" alt=\"A large projection on the side of San Francisco's federal building showing a briefcase with the words 'Equal Pay' on it.\" width=\"2000\" height=\"1452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-1536x1115.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-1920x1394.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Equal Pay’ by Michele Pred, projected onto the Speaker Nancy Pelosi Federal Building in San Francisco. \u003ccite>(Courtesy of Michele Pred)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On March 25 (Equal Pay Day), Pred projected an image of a briefcase with the words “equal pay” on the side of San Francisco’s Federal Building. Earlier in the year, Pred covered the side of New York’s Guggenheim Museum with a projection of 100 words recently flagged by the Trump administration in relation to diversity, equity and inclusion efforts. Pred also projected the phrase “Biden, publish the ERA” on Washington, D.C.’s National Gallery of Art back in November 2024.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pred has previously expressed herself in large scale \u003ca href=\"https://michelepred.com/section/476841-Billboards.html\">via billboards\u003c/a> featuring her feminist and pro-choice artwork. (During the 2024 Republican National Convention in Milwaukee, for example, she put up a \u003ca href=\"https://michelepred.com/artwork/5364562.html\">rendition of the Stars and Stripes made out of birth control pills\u003c/a> accompanied by the phrase “My Choice My Vote”.)\u003c/p>\n\u003cp>Pred’s move into projections follows in the footsteps of other Bay Area artists including \u003ca href=\"https://www.kqed.org/arts/13899808/asian-american-artists-light-up-buildings-with-guerilla-messages-of-solidarity\">Christy Chan\u003c/a>, who led 2021’s anti-racist \u003ca href=\"https://www.dearamericaprojections.com/\">\u003cem>Dear America\u003c/em>\u003c/a> project, and \u003ca href=\"https://www.instagram.com/aemarling/?hl=en\">Alan Marling\u003c/a>, who first gave Pred tips on how to make her own projections. Pred cites \u003ca href=\"https://www.kqed.org/arts/22683/women_in_the_city\">Barbara Kruger\u003c/a> and U.K. activist group \u003ca href=\"https://www.ledbydonkeys.org/\">Led by Donkeys\u003c/a> as other influences.\u003c/p>\n\u003cfigure id=\"attachment_13974753\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974753\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped.jpg\" alt=\"A list of 100 words, titled 'Forbidden Words,' projected onto the side of the Guggenheim Museum in New York.\" width=\"2000\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-1920x1311.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“Forbidden Words” by Michele Pred. \u003ccite>(Courtesy of Michele Pred)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pred came up with the plan to put up a projection at Sproul Plaza just two days before the rally.\u003c/p>\n\u003cp>[aside postid='arts_13899808']“I like to respond quickly [to political issues], and with the projections, you can be very immediate,” she said. “These issues in education have been prevalent in the news this week and it made me want to seize the moment. Being able to respond in real time is helpful. The artwork is therapy.”\u003c/p>\n\u003cp>Her projection at UC Berkeley felt, on some level, like a full-circle moment for Pred. Her father, \u003ca href=\"https://en.wikipedia.org/wiki/Allan_Pred\">Allan Pred\u003c/a>, was a professor of cultural geography at UC Berkeley for over 40 years and, in Pred’s words, “extremely political.” Pred has been attending rallies at the university since her parents first took her to anti-Vietnam War protests there in the late 1960s. She was a baby at the time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s in my blood, it’s in my DNA,” Pred said. “To do this in Berkeley was really going back to my roots.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13974830\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974830\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science.jpeg\" alt=\"A projection reading ‘Money for science, not oligarchs’ on a building at UC Berkeley.\" width=\"2000\" height=\"1923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-800x769.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-1020x981.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-160x154.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-768x738.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-1536x1477.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/monyh-for-science-1920x1846.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Money for science, not oligarghs’ by Michele Pred, projected onto a UC Berkeley building, April 2025. \u003ccite>(Courtesy of Michele Pred)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last night, in solidarity with the \u003ca href=\"https://www.dayofactionforhighered.org/\">National Day of Action for Higher Education\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/tag/berkeley\">Berkeley\u003c/a>-based artist \u003ca href=\"https://michelepred.com/home.html\">Michele Pred\u003c/a> projected the phrase “Money For Science, Not Oligarchs” onto \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">UC Berkeley\u003c/a>‘s Sproul Hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://speaklearnteach.org/\">Berkeley Faculty for the Freedom to Learn\u003c/a> held \u003ca href=\"https://speaklearnteach.org/2025/04/16/4-17-rise-up-for-education-rally-teach-ins/\">a rally\u003c/a> on Sproul Plaza earlier in the day, in protest of the recent \u003ca href=\"https://www.kqed.org/arts/13974031/new-gaza-documentary-columbia-university-protests-the-encampments\">detention and deportation of several international students\u003c/a> around the country. The rally, part of a national day of action for higher education, sought to “defend basic principles and freedoms” and “to manifest what \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">UC Berkeley\u003c/a> can and must be,” according to a statement from the organizers.\u003c/p>\n\u003cp>“Right now, higher education is really getting attacked in terms of funding and federal grants,” Pred said in a phone interview. “It’s outrageous and frightening to have science funding cut this way. There are thousands of important research projects that are losing money, or have already lost money. We’re in a crisis.”\u003c/p>\n\u003cp>Pred’s UC Berkeley projection was not her first. For the past six months, the conceptual artist has been projecting political statements onto public property around the country in response to a variety of issues dear to her heart.\u003c/p>\n\u003cfigure id=\"attachment_13974745\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13974745 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay.jpg\" alt=\"A large projection on the side of San Francisco's federal building showing a briefcase with the words 'Equal Pay' on it.\" width=\"2000\" height=\"1452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-1536x1115.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/equal-pay-1920x1394.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Equal Pay’ by Michele Pred, projected onto the Speaker Nancy Pelosi Federal Building in San Francisco. \u003ccite>(Courtesy of Michele Pred)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On March 25 (Equal Pay Day), Pred projected an image of a briefcase with the words “equal pay” on the side of San Francisco’s Federal Building. Earlier in the year, Pred covered the side of New York’s Guggenheim Museum with a projection of 100 words recently flagged by the Trump administration in relation to diversity, equity and inclusion efforts. Pred also projected the phrase “Biden, publish the ERA” on Washington, D.C.’s National Gallery of Art back in November 2024.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pred has previously expressed herself in large scale \u003ca href=\"https://michelepred.com/section/476841-Billboards.html\">via billboards\u003c/a> featuring her feminist and pro-choice artwork. (During the 2024 Republican National Convention in Milwaukee, for example, she put up a \u003ca href=\"https://michelepred.com/artwork/5364562.html\">rendition of the Stars and Stripes made out of birth control pills\u003c/a> accompanied by the phrase “My Choice My Vote”.)\u003c/p>\n\u003cp>Pred’s move into projections follows in the footsteps of other Bay Area artists including \u003ca href=\"https://www.kqed.org/arts/13899808/asian-american-artists-light-up-buildings-with-guerilla-messages-of-solidarity\">Christy Chan\u003c/a>, who led 2021’s anti-racist \u003ca href=\"https://www.dearamericaprojections.com/\">\u003cem>Dear America\u003c/em>\u003c/a> project, and \u003ca href=\"https://www.instagram.com/aemarling/?hl=en\">Alan Marling\u003c/a>, who first gave Pred tips on how to make her own projections. Pred cites \u003ca href=\"https://www.kqed.org/arts/22683/women_in_the_city\">Barbara Kruger\u003c/a> and U.K. activist group \u003ca href=\"https://www.ledbydonkeys.org/\">Led by Donkeys\u003c/a> as other influences.\u003c/p>\n\u003cfigure id=\"attachment_13974753\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974753\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped.jpg\" alt=\"A list of 100 words, titled 'Forbidden Words,' projected onto the side of the Guggenheim Museum in New York.\" width=\"2000\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Forbidden-DEI-Words-cropped-1920x1311.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“Forbidden Words” by Michele Pred. \u003ccite>(Courtesy of Michele Pred)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pred came up with the plan to put up a projection at Sproul Plaza just two days before the rally.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I like to respond quickly [to political issues], and with the projections, you can be very immediate,” she said. “These issues in education have been prevalent in the news this week and it made me want to seize the moment. Being able to respond in real time is helpful. The artwork is therapy.”\u003c/p>\n\u003cp>Her projection at UC Berkeley felt, on some level, like a full-circle moment for Pred. Her father, \u003ca href=\"https://en.wikipedia.org/wiki/Allan_Pred\">Allan Pred\u003c/a>, was a professor of cultural geography at UC Berkeley for over 40 years and, in Pred’s words, “extremely political.” Pred has been attending rallies at the university since her parents first took her to anti-Vietnam War protests there in the late 1960s. She was a baby at the time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s in my blood, it’s in my DNA,” Pred said. “To do this in Berkeley was really going back to my roots.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Vivien’s Wild Ride’ Is a Poignant Bay Area Time Capsule — With a Punch",
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"content": "\u003cp>The real art of \u003ca href=\"https://www.kqed.org/arts/category/movies\">film\u003c/a> editing, Vivien Hillgrove tells us in her unexpected and beautiful first-person documentary \u003cem>Vivien’s Wild Ride\u003c/em>, is conveying “the story under the story.” Yes, we should be hooked and held by the plot, the characters’ journey and dramatic events. But the essence of a film — its themes and emotional power — is expressed between the lines.\u003c/p>\n\u003cp>\u003cem>Vivien’s Wild Ride\u003c/em>, the Bay Area native’s directorial debut after half a century editing sound and picture for a bevy of landmark local feature films and documentaries, has its \u003ca href=\"https://sffilm.org/event/viviens-wild-ride/\" target=\"_blank\" rel=\"noopener\">world premiere\u003c/a> on Friday, April 18 at the Premier Theatre in the Presidio and Saturday, April 19 at BAMPFA in Berkeley as part of SFFILM’s annual \u003ca href=\"https://sffilm.org/\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a>.\u003c/p>\n\u003cp>Hillgrove’s initial idea was to write a book for the daughter she was forced to give up for adoption while in her teens in the early 1960s — a memoir of a now-forgotten conservative era for young women. That era abruptly ended (in San Francisco, at least) in splinters and cracks, with Hillgrove seizing the moment to discover and then reinvent herself, both as a lesbian (“a sort of criminal euphoria of freedom,” she describes it in \u003cem>Vivien’s Wild Ride\u003c/em>) and as a largely self-taught sound and picture editor at the production and postproduction company Studio 16.[aside postID=arts_13974460 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/IndieFest-outside-Roxie.jpg']Although her métier has long been thinking in pictures, Hillgrove, 78, didn’t conceive of putting her story on film at first. Perhaps it’s her temperament; she’s a collaborator more than an initiator. Maybe it’s her core motivation to solve the puzzle or mystery of each movie project — “How does all this shit go together?” she puts it succinctly — rather than create one. But there’s another factor, too: the macular degeneration gradually taking her eyesight.\u003c/p>\n\u003cp>Hillgrove eventually came to embrace the notion of a film, inspired by dreams and random mental images. “I went to the \u003ca href=\"https://www.kqed.org/news/11742759/california-sound-the-visually-impaired-learn-to-listen-at-santa-rosas-earle-baum-center\">Earle Baum Center of the Blind\u003c/a> [in Santa Rosa, not far from where Hillgrove and wife Karen Brocco live],” she recounts in a phone interview, “and I saw this labyrinth and I just went, ‘Wowie zowie, what would this look like at night?’ It looks like the constellations.”\u003c/p>\n\u003cp>\u003cem>Vivien’s Wild Ride\u003c/em> abounds with poetic shots and metaphorical compositions that invite the viewer to access “the story under the story.” Bay Area audiences, in particular, will take pleasure in Hillgrove’s deployment of the traditional elements of documentary filmmaking, such as family photographs, archival footage of San Francisco and clips from some of the famous films that Hillgrove edited (dialogue for producer Saul Zaentz’s \u003cem>Amadeus\u003c/em>, picture for Philip Kaufman’s \u003cem>The Unbearable Lightness of Being\u003c/em> and \u003cem>Henry & June\u003c/em>, Lourdes Portillo’s \u003cem>Señorita Extraviada/Missing Young Woman\u003c/em>).\u003c/p>\n\u003cp>First-person documentaries typically offer irresistible, confessional intimacy. At the same time, they run the risk of becoming self-indulgent or insular. Hillgrove’s formative years as a commercial editor working on everything from industrials (corporate films) to adult films (she cut \u003cem>Easy Come Easy Go\u003c/em> and \u003cem>Frisco Fiasco\u003c/em> under the pseudonym Lorraine Sprocket, a joke that plainly predates the digital age) trained her to put the viewer first.\u003c/p>\n\u003cp>“The audience was constantly on my mind” while making \u003cem>Vivien’s Wild Ride\u003c/em>, she declares. “Because it’s always a conversation between a filmmaker and an audience.”[aside postID=arts_13973907 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/freaky-tales-illustration_3.jpg']Hillgrove praises a particular approach of Academy Award-winning editor Walter Murch. “He takes a tiny little cutout of a person and puts it on the screen of his editing machine to constantly remind him that you are talking to somebody. You are sharing love and all those esoteric things that . . . you can’t \u003cem>tell\u003c/em> people about, you have to allow them to feel.”\u003c/p>\n\u003cp>Even a non-connoisseur of film editing will appreciate the skill with which Hillgrove and co-editor Eric M. Ivey intertwine the narratives of her life. Techniques such as foreshadowing and flashbacks are used to transform what could be a clunky, episodic account into a fluid representation of the way we experience our lives as an amalgam of naiveté, pain, wisdom, love, memory and (if we’re lucky) reconciliation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amidst that flow, \u003cem>Vivien’s Wild Ride\u003c/em> plays at points as an affectionate rear-view snapshot of the earthshaking ’70s and ’80s Bay Area narrative film scene, and as a harrowing chronicle of a vibrant Golden Ager adjusting to diminished vision. Crucially, Hillgrove explores another personal concern that lifts the film beyond familiar subjects into the complicated realm of adult adopted children.\u003c/p>\n\u003cp>“I wanted the film to follow what happened in terms of my awareness of what happened to Kathleen,” Hillgrove explains. “Most people expect it to be a happy ending — which it is in a way — but it goes through this really dark period that I did not find out about until she was in her 50s.”\u003c/p>\n\u003cp>Hillgrove’s father played piano, and she had requested (among other things) that the adoption agency place Kathleen with a musical family. The agency paid no attention to the wishes of the mother in those days, it seems. And the system failed Kathleen, too, we learn.\u003c/p>\n\u003cp>Come for the story of \u003cem>Vivien’s Wild Ride\u003c/em>, but it’s the story under the story that makes the trip so rewarding.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.pbs.org/independentlens/documentaries/viviens-wild-ride/\">Vivien’s Wild Ride\u003c/a>’ premieres Jan. 26, 2026 on ‘Independent Lens.’\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The real art of \u003ca href=\"https://www.kqed.org/arts/category/movies\">film\u003c/a> editing, Vivien Hillgrove tells us in her unexpected and beautiful first-person documentary \u003cem>Vivien’s Wild Ride\u003c/em>, is conveying “the story under the story.” Yes, we should be hooked and held by the plot, the characters’ journey and dramatic events. But the essence of a film — its themes and emotional power — is expressed between the lines.\u003c/p>\n\u003cp>\u003cem>Vivien’s Wild Ride\u003c/em>, the Bay Area native’s directorial debut after half a century editing sound and picture for a bevy of landmark local feature films and documentaries, has its \u003ca href=\"https://sffilm.org/event/viviens-wild-ride/\" target=\"_blank\" rel=\"noopener\">world premiere\u003c/a> on Friday, April 18 at the Premier Theatre in the Presidio and Saturday, April 19 at BAMPFA in Berkeley as part of SFFILM’s annual \u003ca href=\"https://sffilm.org/\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a>.\u003c/p>\n\u003cp>Hillgrove’s initial idea was to write a book for the daughter she was forced to give up for adoption while in her teens in the early 1960s — a memoir of a now-forgotten conservative era for young women. That era abruptly ended (in San Francisco, at least) in splinters and cracks, with Hillgrove seizing the moment to discover and then reinvent herself, both as a lesbian (“a sort of criminal euphoria of freedom,” she describes it in \u003cem>Vivien’s Wild Ride\u003c/em>) and as a largely self-taught sound and picture editor at the production and postproduction company Studio 16.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although her métier has long been thinking in pictures, Hillgrove, 78, didn’t conceive of putting her story on film at first. Perhaps it’s her temperament; she’s a collaborator more than an initiator. Maybe it’s her core motivation to solve the puzzle or mystery of each movie project — “How does all this shit go together?” she puts it succinctly — rather than create one. But there’s another factor, too: the macular degeneration gradually taking her eyesight.\u003c/p>\n\u003cp>Hillgrove eventually came to embrace the notion of a film, inspired by dreams and random mental images. “I went to the \u003ca href=\"https://www.kqed.org/news/11742759/california-sound-the-visually-impaired-learn-to-listen-at-santa-rosas-earle-baum-center\">Earle Baum Center of the Blind\u003c/a> [in Santa Rosa, not far from where Hillgrove and wife Karen Brocco live],” she recounts in a phone interview, “and I saw this labyrinth and I just went, ‘Wowie zowie, what would this look like at night?’ It looks like the constellations.”\u003c/p>\n\u003cp>\u003cem>Vivien’s Wild Ride\u003c/em> abounds with poetic shots and metaphorical compositions that invite the viewer to access “the story under the story.” Bay Area audiences, in particular, will take pleasure in Hillgrove’s deployment of the traditional elements of documentary filmmaking, such as family photographs, archival footage of San Francisco and clips from some of the famous films that Hillgrove edited (dialogue for producer Saul Zaentz’s \u003cem>Amadeus\u003c/em>, picture for Philip Kaufman’s \u003cem>The Unbearable Lightness of Being\u003c/em> and \u003cem>Henry & June\u003c/em>, Lourdes Portillo’s \u003cem>Señorita Extraviada/Missing Young Woman\u003c/em>).\u003c/p>\n\u003cp>First-person documentaries typically offer irresistible, confessional intimacy. At the same time, they run the risk of becoming self-indulgent or insular. Hillgrove’s formative years as a commercial editor working on everything from industrials (corporate films) to adult films (she cut \u003cem>Easy Come Easy Go\u003c/em> and \u003cem>Frisco Fiasco\u003c/em> under the pseudonym Lorraine Sprocket, a joke that plainly predates the digital age) trained her to put the viewer first.\u003c/p>\n\u003cp>“The audience was constantly on my mind” while making \u003cem>Vivien’s Wild Ride\u003c/em>, she declares. “Because it’s always a conversation between a filmmaker and an audience.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hillgrove praises a particular approach of Academy Award-winning editor Walter Murch. “He takes a tiny little cutout of a person and puts it on the screen of his editing machine to constantly remind him that you are talking to somebody. You are sharing love and all those esoteric things that . . . you can’t \u003cem>tell\u003c/em> people about, you have to allow them to feel.”\u003c/p>\n\u003cp>Even a non-connoisseur of film editing will appreciate the skill with which Hillgrove and co-editor Eric M. Ivey intertwine the narratives of her life. Techniques such as foreshadowing and flashbacks are used to transform what could be a clunky, episodic account into a fluid representation of the way we experience our lives as an amalgam of naiveté, pain, wisdom, love, memory and (if we’re lucky) reconciliation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amidst that flow, \u003cem>Vivien’s Wild Ride\u003c/em> plays at points as an affectionate rear-view snapshot of the earthshaking ’70s and ’80s Bay Area narrative film scene, and as a harrowing chronicle of a vibrant Golden Ager adjusting to diminished vision. Crucially, Hillgrove explores another personal concern that lifts the film beyond familiar subjects into the complicated realm of adult adopted children.\u003c/p>\n\u003cp>“I wanted the film to follow what happened in terms of my awareness of what happened to Kathleen,” Hillgrove explains. “Most people expect it to be a happy ending — which it is in a way — but it goes through this really dark period that I did not find out about until she was in her 50s.”\u003c/p>\n\u003cp>Hillgrove’s father played piano, and she had requested (among other things) that the adoption agency place Kathleen with a musical family. The agency paid no attention to the wishes of the mother in those days, it seems. And the system failed Kathleen, too, we learn.\u003c/p>\n\u003cp>Come for the story of \u003cem>Vivien’s Wild Ride\u003c/em>, but it’s the story under the story that makes the trip so rewarding.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.pbs.org/independentlens/documentaries/viviens-wild-ride/\">Vivien’s Wild Ride\u003c/a>’ premieres Jan. 26, 2026 on ‘Independent Lens.’\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s that time of the year again, when food lovers don their comfiest loose-fitting pants for a weeklong jamboree of prix-fixe meal deals. We’re talking, of course, about Restaurant Week, and for value-conscious \u003ca href=\"https://www.kqed.org/arts/tag/east-bay\">East Bay\u003c/a> diners, the rest of this month is especially jam-packed: Both \u003ca href=\"https://www.visitoakland.com/events/annual-events/restaurant-week/\">Oakland\u003c/a> (March 20–30) and \u003ca href=\"https://www.visitberkeley.com/food-drinks/restaurant-week/\">Berkeley\u003c/a> (March 21–31) are hosting their respective Restaurant Week promotions.\u003c/p>\n\u003cp>For this year’s event, Oakland is leaning heavily into its recently-nabbed title as “best food city in the U.S.” (according to a \u003ca href=\"https://www.cntraveler.com/gallery/best-food-cities-in-the-us-readers-choice-awards\">\u003ci>Condé Nast Traveler\u003c/i> poll\u003c/a>) — a much-needed feather in its cap during these tumultuous times. Meanwhile, this year’s Berkeley Restaurant Week has a chocolate theme, with a number of participants offering \u003ca href=\"https://www.visitberkeley.com/food-drinks/restaurant-week/plant-based-tier/\">dessert specials\u003c/a> in addition to the usual array of discounted meal deals.\u003c/p>\n\u003cp>It’s a lot of information to sort through, though. For instance, the Oakland tourism bureau’s \u003ca href=\"https://www.visitoakland.com/events/annual-events/restaurant-week/\">website for the promotion\u003c/a> lists no fewer than 145 participating restaurants, about two dozen of which hadn’t yet specified their Restaurant Week menus as of this posting (including personal favorites like \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’chaka\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13958114/todos-oakland-la-casita-comeback-menudo-pozole\">Todos\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13962759/viridian-asian-american-cocktail-bar-late-night-food-oakland\">Viridian\u003c/a>).\u003c/p>\n\u003cp>So, to make it easier to map out your dining plan, I’ve put together a handy guide to 10 of my favorite Oakland and Berkeley Restaurant Week deals this year — the restaurants offering the steepest discounts and/or the most interesting special menus.\u003c/p>\n\u003ch2>OAKLAND\u003c/h2>\n\u003cfigure id=\"attachment_13973344\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken.jpg\" alt=\"Jerk chicken, plantains and rice in a takeout container.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A jerk chicken plate from Cocobreeze. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/cocobreeze-caribbean-restaurant-%7c-orw25-special-offer/8281/\">Cocobreeze\u003c/a>\u003cbr>\n\u003cem>2370 High St.\u003c/em>\u003c/h2>\n\u003cp>Cocobreeze is probably the East Bay’s top spot for Caribbean-style curries and roti wraps. What I like about their Restaurant Week four-course prix-fixe is how there are different special entrees over the course of the week — so, oxtails on both Saturdays (March 22 and 29) and a special brunch menu on Sundays (March 23 and 30).\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/tarts-de-feybesse-%7c-orw25-special-offer/8237/\">Tarts de Feybesse\u003c/a>\u003cbr>\n\u003cem>224 24th St.\u003c/em>\u003c/h2>\n\u003cp>Before opening Oakland’s newest buzzy French bakery, Monique and Paul Feybesse sold some of the Bay Area’s most exquisitely beautiful breads and pastries out of their home kitchen in Vallejo. For Restaurant Week, they’ll be running two specials: a tarte flambée with smoked carrots and pea shoots and a seeded epi loaf.\u003c/p>\n\u003cfigure id=\"attachment_13973345\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings.jpg\" alt=\"A plate of Korean fried chicken wings.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The honey butter chicken wings at Chimmelier’s Berkeley location. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/oh-g-burger-%7c-orw25-special-offer/8262/\">Oh G Burger\u003c/a> x \u003ca href=\"https://www.visitoakland.com/listing/chimmelier-%7c-orw25-special-offer/8190/\">Chimmelier\u003c/a>\u003cbr>\n\u003cem>3905 Broadway\u003c/em>\u003c/h2>\n\u003cp>This newly opened collaboration between the folks behind longtime KBBQ staple Ohgane and a flashy L.A.-based chicken outfit sells some of the East Bay’s tastiest smash burgers and Korean fried chicken wings. They’re offering a $15 lunch deal for a standard smash burger or small fried chicken sandwich, fries and a drink — a savings of about $6, as you essentially get the fries for free. (But if it’s your first visit, I highly recommend also trying the wings and maybe one of the Korean American–inflected options, like the Bulgogi Burger.)\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/jaji-%7c-orw25-special-offer/8261/\">Jaji\u003c/a>\u003cbr>\n\u003cem>422 24th St.\u003c/em>\u003c/h2>\n\u003cp>This Uptown newcomer specializes in upscale, modern Afghan cuisine, and its three-course, $65-per-person dinner prix-fixe (with a minimum of two diners participating) looks like one of the best deals of the week: If you select the most expensive options for the appetizer (confit duck dumpling, $30) and entree (whole trout, $72), you’re already saving $37, not even counting dessert.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/burdell-%7c-orw25-special-offer/8122/\">Burdell\u003c/a>\u003cbr>\n\u003cem>4640 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>With its refined takes on soul food, Burdell might be the most celebrated fine dining restaurant to open in the Bay Area in the past two years. It’s offering a dinner special exclusively for Restaurant Week: a double smothered pork chop with a wild mushroom and bacon gravy. Even regular degular smothered pork chops are an impossibly lovely, decadent thing, so I’m especially curious to see what chef Geoff Davis’ take is like.\u003c/p>\n\u003ch2>BERKELEY\u003c/h2>\n\u003cfigure id=\"attachment_13954348\" class=\"wp-caption alignnone\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954348\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop.jpg\" alt=\"German pork schnitzel topped with a fried egg, on a white plate.\" width=\"2016\" height=\"1386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1920x1320.jpg 1920w\" sizes=\"auto, (max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">Crispy pork schnitzel, one of the now-closed Gaumenkitzel, which has been reborn, at a new location, as Anja’s Kitchen. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/anjas-kitchen/\">Anja’s Kitchen\u003c/a>\u003cbr>\n\u003cem>1966 University Ave.\u003c/em>\u003c/h2>\n\u003cp>Almost exactly one year ago, German food lovers mourned the \u003ca href=\"https://www.kqed.org/arts/13954342/gaumenkitzel-berkeley-german-restaurant-closing\">closure of Gaumenkitzel\u003c/a>, which had low-key been one of Berkeley’s best restaurants for more than a decade. Anja’s is chef Anja Voth’s new, cozier, more modest little cafe, and for her Restaurant Week \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Anjas-Kitchen.pdf?mtime=20250313112123\">menu\u003c/a>, she’ll be bringing back at least one old Gaumenkitzel classic: my all-time favorite pork schnitzel, this time served in sandwich form.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/pyeong-chang-tofu/\">Pyeong Chang Tofu\u003c/a>\u003cbr>\n\u003cem>1269 University Ave.\u003c/em>\u003c/h2>\n\u003cp>The beloved soondubu house is running a \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Pyeong-Chang-Tofu_250317_161501.pdf?mtime=20250317161501\">$35 prix-fixe\u003c/a> that features one of its signature tofu stews as well as the kimchi pancake Samin Nosrat (of \u003ci>Salt Fat Acid Heat \u003c/i>fame) loved so much she wrote a love letter to it in the \u003ca href=\"https://www.nytimes.com/2020/06/10/magazine/bored-with-the-same-old-try-these-crispy-kimchi-pancakes.html\">\u003ci>New York Times\u003c/i>\u003c/a>\u003ci>. \u003c/i>Value-wise, that’s about a $7 savings off the regular menu prices.\u003c/p>\n\u003cfigure id=\"attachment_13973346\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball.jpg\" alt=\"Meatball in brown gravy in a white serving plate.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An earlier takeout version of Fish & Bird’s nikomi hamburg — a giant meatball in gravy. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/fish-bird-sousaku-izakaya/\">Fish & Bird Sousaku Izakaya\u003c/a>\u003cbr>\n\u003cem>2451 Shattuck Ave.\u003c/em>\u003c/h2>\n\u003cp>This sleek izakaya is serving a \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Fish-Bird.pdf?mtime=20250313112140\">three-course, $54 dinner prix-fixe\u003c/a> that includes as an option a version of one of my all-time favorite dishes from the COVID takeout-only prepared foods era: the wagyu nikomi hamburg steak — a giant meatball simmered in the most delicious savory brown gravy.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/thayirsadam/\">Thayir Sadam\u003c/a>\u003cbr>\n\u003cem>2379 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>One of Berkeley’s most \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/thayir-sadam-berkeley-indian-restaurant-19890521.php\">intriguing new restaurants\u003c/a>, Thayir Sadam specializes in South Indian curd rice, served with your choice of sweet and savory toppings. Its \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Thayirsadam.pdf?mtime=20250313112223\">Restaurant Week menu\u003c/a> leans into the sweets, with a variety of special toppings, drinks and pastries on offer.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/myungrang-berkeley/\">Myungrang\u003c/a>\u003cbr>\n\u003cem>2598 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>Myungrang specializes in crunchy, oozy, outrageously topped Korean hot dogs — and during Restaurant Week, you’ll get a free taiyaki (fish-shaped pastry) with the purchase of any dog or tteokbokki.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "It's a great time to revisit old favorites and explore newcomers in two of the Bay's great food scenes.",
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"title": "The Best Deals of Oakland and Berkeley Restaurant Weeks | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time of the year again, when food lovers don their comfiest loose-fitting pants for a weeklong jamboree of prix-fixe meal deals. We’re talking, of course, about Restaurant Week, and for value-conscious \u003ca href=\"https://www.kqed.org/arts/tag/east-bay\">East Bay\u003c/a> diners, the rest of this month is especially jam-packed: Both \u003ca href=\"https://www.visitoakland.com/events/annual-events/restaurant-week/\">Oakland\u003c/a> (March 20–30) and \u003ca href=\"https://www.visitberkeley.com/food-drinks/restaurant-week/\">Berkeley\u003c/a> (March 21–31) are hosting their respective Restaurant Week promotions.\u003c/p>\n\u003cp>For this year’s event, Oakland is leaning heavily into its recently-nabbed title as “best food city in the U.S.” (according to a \u003ca href=\"https://www.cntraveler.com/gallery/best-food-cities-in-the-us-readers-choice-awards\">\u003ci>Condé Nast Traveler\u003c/i> poll\u003c/a>) — a much-needed feather in its cap during these tumultuous times. Meanwhile, this year’s Berkeley Restaurant Week has a chocolate theme, with a number of participants offering \u003ca href=\"https://www.visitberkeley.com/food-drinks/restaurant-week/plant-based-tier/\">dessert specials\u003c/a> in addition to the usual array of discounted meal deals.\u003c/p>\n\u003cp>It’s a lot of information to sort through, though. For instance, the Oakland tourism bureau’s \u003ca href=\"https://www.visitoakland.com/events/annual-events/restaurant-week/\">website for the promotion\u003c/a> lists no fewer than 145 participating restaurants, about two dozen of which hadn’t yet specified their Restaurant Week menus as of this posting (including personal favorites like \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’chaka\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13958114/todos-oakland-la-casita-comeback-menudo-pozole\">Todos\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13962759/viridian-asian-american-cocktail-bar-late-night-food-oakland\">Viridian\u003c/a>).\u003c/p>\n\u003cp>So, to make it easier to map out your dining plan, I’ve put together a handy guide to 10 of my favorite Oakland and Berkeley Restaurant Week deals this year — the restaurants offering the steepest discounts and/or the most interesting special menus.\u003c/p>\n\u003ch2>OAKLAND\u003c/h2>\n\u003cfigure id=\"attachment_13973344\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken.jpg\" alt=\"Jerk chicken, plantains and rice in a takeout container.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A jerk chicken plate from Cocobreeze. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/cocobreeze-caribbean-restaurant-%7c-orw25-special-offer/8281/\">Cocobreeze\u003c/a>\u003cbr>\n\u003cem>2370 High St.\u003c/em>\u003c/h2>\n\u003cp>Cocobreeze is probably the East Bay’s top spot for Caribbean-style curries and roti wraps. What I like about their Restaurant Week four-course prix-fixe is how there are different special entrees over the course of the week — so, oxtails on both Saturdays (March 22 and 29) and a special brunch menu on Sundays (March 23 and 30).\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/tarts-de-feybesse-%7c-orw25-special-offer/8237/\">Tarts de Feybesse\u003c/a>\u003cbr>\n\u003cem>224 24th St.\u003c/em>\u003c/h2>\n\u003cp>Before opening Oakland’s newest buzzy French bakery, Monique and Paul Feybesse sold some of the Bay Area’s most exquisitely beautiful breads and pastries out of their home kitchen in Vallejo. For Restaurant Week, they’ll be running two specials: a tarte flambée with smoked carrots and pea shoots and a seeded epi loaf.\u003c/p>\n\u003cfigure id=\"attachment_13973345\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings.jpg\" alt=\"A plate of Korean fried chicken wings.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The honey butter chicken wings at Chimmelier’s Berkeley location. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/oh-g-burger-%7c-orw25-special-offer/8262/\">Oh G Burger\u003c/a> x \u003ca href=\"https://www.visitoakland.com/listing/chimmelier-%7c-orw25-special-offer/8190/\">Chimmelier\u003c/a>\u003cbr>\n\u003cem>3905 Broadway\u003c/em>\u003c/h2>\n\u003cp>This newly opened collaboration between the folks behind longtime KBBQ staple Ohgane and a flashy L.A.-based chicken outfit sells some of the East Bay’s tastiest smash burgers and Korean fried chicken wings. They’re offering a $15 lunch deal for a standard smash burger or small fried chicken sandwich, fries and a drink — a savings of about $6, as you essentially get the fries for free. (But if it’s your first visit, I highly recommend also trying the wings and maybe one of the Korean American–inflected options, like the Bulgogi Burger.)\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/jaji-%7c-orw25-special-offer/8261/\">Jaji\u003c/a>\u003cbr>\n\u003cem>422 24th St.\u003c/em>\u003c/h2>\n\u003cp>This Uptown newcomer specializes in upscale, modern Afghan cuisine, and its three-course, $65-per-person dinner prix-fixe (with a minimum of two diners participating) looks like one of the best deals of the week: If you select the most expensive options for the appetizer (confit duck dumpling, $30) and entree (whole trout, $72), you’re already saving $37, not even counting dessert.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/burdell-%7c-orw25-special-offer/8122/\">Burdell\u003c/a>\u003cbr>\n\u003cem>4640 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>With its refined takes on soul food, Burdell might be the most celebrated fine dining restaurant to open in the Bay Area in the past two years. It’s offering a dinner special exclusively for Restaurant Week: a double smothered pork chop with a wild mushroom and bacon gravy. Even regular degular smothered pork chops are an impossibly lovely, decadent thing, so I’m especially curious to see what chef Geoff Davis’ take is like.\u003c/p>\n\u003ch2>BERKELEY\u003c/h2>\n\u003cfigure id=\"attachment_13954348\" class=\"wp-caption alignnone\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954348\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop.jpg\" alt=\"German pork schnitzel topped with a fried egg, on a white plate.\" width=\"2016\" height=\"1386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1920x1320.jpg 1920w\" sizes=\"auto, (max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">Crispy pork schnitzel, one of the now-closed Gaumenkitzel, which has been reborn, at a new location, as Anja’s Kitchen. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/anjas-kitchen/\">Anja’s Kitchen\u003c/a>\u003cbr>\n\u003cem>1966 University Ave.\u003c/em>\u003c/h2>\n\u003cp>Almost exactly one year ago, German food lovers mourned the \u003ca href=\"https://www.kqed.org/arts/13954342/gaumenkitzel-berkeley-german-restaurant-closing\">closure of Gaumenkitzel\u003c/a>, which had low-key been one of Berkeley’s best restaurants for more than a decade. Anja’s is chef Anja Voth’s new, cozier, more modest little cafe, and for her Restaurant Week \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Anjas-Kitchen.pdf?mtime=20250313112123\">menu\u003c/a>, she’ll be bringing back at least one old Gaumenkitzel classic: my all-time favorite pork schnitzel, this time served in sandwich form.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/pyeong-chang-tofu/\">Pyeong Chang Tofu\u003c/a>\u003cbr>\n\u003cem>1269 University Ave.\u003c/em>\u003c/h2>\n\u003cp>The beloved soondubu house is running a \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Pyeong-Chang-Tofu_250317_161501.pdf?mtime=20250317161501\">$35 prix-fixe\u003c/a> that features one of its signature tofu stews as well as the kimchi pancake Samin Nosrat (of \u003ci>Salt Fat Acid Heat \u003c/i>fame) loved so much she wrote a love letter to it in the \u003ca href=\"https://www.nytimes.com/2020/06/10/magazine/bored-with-the-same-old-try-these-crispy-kimchi-pancakes.html\">\u003ci>New York Times\u003c/i>\u003c/a>\u003ci>. \u003c/i>Value-wise, that’s about a $7 savings off the regular menu prices.\u003c/p>\n\u003cfigure id=\"attachment_13973346\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball.jpg\" alt=\"Meatball in brown gravy in a white serving plate.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An earlier takeout version of Fish & Bird’s nikomi hamburg — a giant meatball in gravy. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/fish-bird-sousaku-izakaya/\">Fish & Bird Sousaku Izakaya\u003c/a>\u003cbr>\n\u003cem>2451 Shattuck Ave.\u003c/em>\u003c/h2>\n\u003cp>This sleek izakaya is serving a \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Fish-Bird.pdf?mtime=20250313112140\">three-course, $54 dinner prix-fixe\u003c/a> that includes as an option a version of one of my all-time favorite dishes from the COVID takeout-only prepared foods era: the wagyu nikomi hamburg steak — a giant meatball simmered in the most delicious savory brown gravy.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/thayirsadam/\">Thayir Sadam\u003c/a>\u003cbr>\n\u003cem>2379 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>One of Berkeley’s most \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/thayir-sadam-berkeley-indian-restaurant-19890521.php\">intriguing new restaurants\u003c/a>, Thayir Sadam specializes in South Indian curd rice, served with your choice of sweet and savory toppings. Its \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Thayirsadam.pdf?mtime=20250313112223\">Restaurant Week menu\u003c/a> leans into the sweets, with a variety of special toppings, drinks and pastries on offer.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/myungrang-berkeley/\">Myungrang\u003c/a>\u003cbr>\n\u003cem>2598 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>Myungrang specializes in crunchy, oozy, outrageously topped Korean hot dogs — and during Restaurant Week, you’ll get a free taiyaki (fish-shaped pastry) with the purchase of any dog or tteokbokki.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The epigraph for Briana Loewinsohn’s wonderfully nostalgic new graphic memoir \u003ci>Raised by Ghosts\u003c/i> reads, “This is not a love story. It is a love letter.” Set during the author’s middle and high school years in Berkeley, Oakland and \u003ca href=\"https://www.kqed.org/arts/tag/el-cerrito\">El Cerrito\u003c/a> in the 1990s, the book is a coming-of-age story about the deep loneliness of being a teenager, and also the transformative power of friendship and art.\u003c/p>\n\u003cp>It’s also, as much as anything, about the magic of handwritten letters and notes.\u003c/p>\n\u003cp>Reached by phone, the Oakland cartoonist explains that this was actually the impetus for the whole book: “First and foremost I wanted to write about notes,” she says.\u003c/p>\n\u003cp>Over the course of the graphic novel’s 200 pages, Loewinsohn’s adolescent self is constantly writing notes to her friends. She folds them up into little triangles and passes them when the teacher isn’t looking, and marvels at how good and funny and weird a certain friend’s notes always are.\u003c/p>\n\u003cfigure id=\"attachment_13972139\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972139\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes.jpg\" alt='Four panels from a graphic novel: A girl dozes off at her desk in class. Then, a hand reaches out to hand her a piece of paper folded up into a triangle. \"Briana\" is written on the outside of the note.' width=\"2000\" height=\"2012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-800x805.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-768x773.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1527x1536.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1920x1932.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Handwritten notes are a through line in this coming-of-age story. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book also features what has become one of Loewinsohn’s signature devices (debuted in her KQED series on old East Bay \u003ca href=\"https://www.kqed.org/arts/13930727/comic-lost-cafes-coffee-shops-the-med-au-coquelet-gaylords-oakland-berkeley\">coffee shops\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">movie theaters\u003c/a>), wherein she includes a handwritten note — something like a diary entry — every few pages, between scenes. Like her \u003ca href=\"https://www.kqed.org/arts/13926136/poignant-graphic-novel-ephemera-explores-an-oakland-artists-lonely-childhood\">debut memoir, \u003ci>Ephemera\u003c/i>\u003c/a>, about her early childhood, \u003ci>Raised by Ghosts \u003c/i>has a quiet beauty, and many of the panels have little to no dialogue whatsoever. Against that backdrop, the handwritten interludes give deeper insight into what she’s thinking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[The other kids] all seem to understand how to be in the world in a way that I do not,” she writes in one note. “They punch each other and laugh. Then they punch someone else. They get it.” In another, about her dad: “He will never ask how my day was or how school is going. But he will also never bother me. … Some days, though, I wouldn’t mind being bothered.”\u003c/p>\n\u003cp>Loewinsohn says she’s kept every single note that her friends ever gave her. As research for the book, she went back and reread all of them — along with her high school journal and every email she wrote in 1997 — to put herself back into that “cringeworthy” mode of teenage self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13972145\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman.jpg\" alt=\"Panels from a graphic novel: Each panels progressively zooms out, showing teens sprawled in a field, each listening to their own Walkman.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The book is a nostalgic trip for readers who grew up in the ’90s, listening to Walkmans and talking on landline telephones. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Loewinsohn thinks back on all the notes she exchanged with her friends as an early form of social media.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13968201,arts_13930727,arts_13926136']\u003c/span>\u003c/span>“It was a cure for boredom, definitely, and a conduit for gossip,” she says. “But I think it really just made you feel connected to people even when you maybe weren’t with them, because you were like, ‘Oh, I’m writing a note to this person, or I’m waiting to get a note.’ There was that serotonin bump when you would get a note.”\u003c/p>\n\u003cp>As Loewinsohn’s teenage self explains in one of the handwritten notes that are interspersed throughout the book, “Notes make us feel … like we have a friend with us when really we are surrounded by zombies. … I can’t imagine how lonely I’d feel without them.”\u003c/p>\n\u003cp>\u003ci>Raised by Ghosts \u003c/i>will resonate with Gen Xers and elder millennials who went to high school in the ’90s, watched the same \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">movies\u003c/a> and TV shows, and made mixtapes with the same bands (Tupac, Green Day, The Smashing Pumpkins). Readers who grew up in the East Bay, in particular, will get a heavy dose of nostalgia from Loewinsohn’s lovingly rendered drawings of the old haunts where she and her friends spent their nights and weekends: Moe’s Books, Amoeba Music, Albany Bowl, all ages shows at Berkeley Square.\u003c/p>\n\u003cfigure id=\"attachment_13972142\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972142\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books.jpg\" alt=\"Illustration: A young woman strolls down a downtown street. The signs on the storefronts read, "Shambhala Publications" and "Moe's Books."\" width=\"2000\" height=\"2008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1530x1536.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1920x1928.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The book takes place at popular teen hangouts in the East Bay of the 1990s — including stores like Amoeba Music and Moe’s Books in Berkeley. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the book was really written with a teenage audience in mind, says Loewinsohn. On the one hand, she thinks many pages in \u003ci>Raised by Ghosts\u003c/i> will read as fun objects of curiosity for teens today, who might not talk on the phone at all anymore or at least not in the same way we Olds did — for six hours sometimes, twisting the long cord around our fingers, until our parents kicked us off the line or we literally fell asleep. They may have never known what it was like to fold up a handwritten note during a time when social media didn’t exist in the same way. (One of the most fun outcomes of the book, Loewinsohn says, would be if it helps spark a resurgence in note-writing among teens — which is why she included detailed origami diagrams for three different note-folding techniques in the appendix.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13972147 alignright\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-160x206.jpg\" alt=\"Cover for the book 'Raised by Ghosts.'\" width=\"240\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1020x1311.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-768x987.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1195x1536.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1593x2048.jpg 1593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1920x2468.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-scaled.jpg 1991w\" sizes=\"auto, (max-width: 240px) 100vw, 240px\">\u003c/p>\n\u003cp>Even more than that, though, Loewinsohn hopes young readers will take the book’s message to heart. “The intention of the book is really just to acknowledge how hard it is to be a teenager and how big the feelings are — whether they’re founded or unfounded is inconsequential. It is \u003ci>hard\u003c/i> to be a teenager,” she says. “And the book is to acknowledge that and to tell you, I see you. You’re doing great. Keep going, and look for things in your life that help you feel connected.”\u003c/p>\n\u003cp>It’s fitting, then, that one of Loewinsohn’s very first events promoting \u003ci>Raised by Ghosts\u003c/i> will be geared specifically for a teen audience. Her Feb. 22 reading at the Oakland Public Library will feature a Q&A led by fellow Oakland graphic novelist (and frequent \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">KQED contributor\u003c/a>) \u003ca href=\"https://www.kqed.org/arts/13930458/thien-pham-family-style-graphic-novel-food-memoir-vietnamese-refugee-san-jose-hella-hungry\">Thien Pham\u003c/a>, and Loewinsohn will also spend some time talking about how she got into drawing comics to begin with.\u003c/p>\n\u003cp>When asked about the challenges of catering a book event for a younger crowd, Loewinsohn noted that she talks to teenagers every day. She’s worked as a high school art teacher for the past 20 years, after all.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantagraphics.com/products/raised-by-ghosts?srsltid=AfmBOoopc3MlFgJFoIITS5LmDU5g4a8f1WbR0yb-b4RBpyvW2iQ2Tskv\">Raised by Ghosts\u003c/a> \u003ci>is available at all booksellers now. The \u003c/i>\u003ca href=\"https://www.instagram.com/p/DF_v8bSPsZH/\">\u003ci>Oakland Public Library event\u003c/i>\u003c/a>\u003ci> will take place on Saturday, Feb. 22, at 4 p.m., in the TeenZone at the main branch (125 14th St., Oakland). Follow Loewinsohn on \u003c/i>\u003ca href=\"https://www.instagram.com/brianabreaks/\">\u003ci>Instagram\u003c/i>\u003c/a>\u003ci> for details on other upcoming events.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The epigraph for Briana Loewinsohn’s wonderfully nostalgic new graphic memoir \u003ci>Raised by Ghosts\u003c/i> reads, “This is not a love story. It is a love letter.” Set during the author’s middle and high school years in Berkeley, Oakland and \u003ca href=\"https://www.kqed.org/arts/tag/el-cerrito\">El Cerrito\u003c/a> in the 1990s, the book is a coming-of-age story about the deep loneliness of being a teenager, and also the transformative power of friendship and art.\u003c/p>\n\u003cp>It’s also, as much as anything, about the magic of handwritten letters and notes.\u003c/p>\n\u003cp>Reached by phone, the Oakland cartoonist explains that this was actually the impetus for the whole book: “First and foremost I wanted to write about notes,” she says.\u003c/p>\n\u003cp>Over the course of the graphic novel’s 200 pages, Loewinsohn’s adolescent self is constantly writing notes to her friends. She folds them up into little triangles and passes them when the teacher isn’t looking, and marvels at how good and funny and weird a certain friend’s notes always are.\u003c/p>\n\u003cfigure id=\"attachment_13972139\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972139\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes.jpg\" alt='Four panels from a graphic novel: A girl dozes off at her desk in class. Then, a hand reaches out to hand her a piece of paper folded up into a triangle. \"Briana\" is written on the outside of the note.' width=\"2000\" height=\"2012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-800x805.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-768x773.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1527x1536.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1920x1932.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Handwritten notes are a through line in this coming-of-age story. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book also features what has become one of Loewinsohn’s signature devices (debuted in her KQED series on old East Bay \u003ca href=\"https://www.kqed.org/arts/13930727/comic-lost-cafes-coffee-shops-the-med-au-coquelet-gaylords-oakland-berkeley\">coffee shops\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">movie theaters\u003c/a>), wherein she includes a handwritten note — something like a diary entry — every few pages, between scenes. Like her \u003ca href=\"https://www.kqed.org/arts/13926136/poignant-graphic-novel-ephemera-explores-an-oakland-artists-lonely-childhood\">debut memoir, \u003ci>Ephemera\u003c/i>\u003c/a>, about her early childhood, \u003ci>Raised by Ghosts \u003c/i>has a quiet beauty, and many of the panels have little to no dialogue whatsoever. Against that backdrop, the handwritten interludes give deeper insight into what she’s thinking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[The other kids] all seem to understand how to be in the world in a way that I do not,” she writes in one note. “They punch each other and laugh. Then they punch someone else. They get it.” In another, about her dad: “He will never ask how my day was or how school is going. But he will also never bother me. … Some days, though, I wouldn’t mind being bothered.”\u003c/p>\n\u003cp>Loewinsohn says she’s kept every single note that her friends ever gave her. As research for the book, she went back and reread all of them — along with her high school journal and every email she wrote in 1997 — to put herself back into that “cringeworthy” mode of teenage self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13972145\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman.jpg\" alt=\"Panels from a graphic novel: Each panels progressively zooms out, showing teens sprawled in a field, each listening to their own Walkman.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The book is a nostalgic trip for readers who grew up in the ’90s, listening to Walkmans and talking on landline telephones. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Loewinsohn thinks back on all the notes she exchanged with her friends as an early form of social media.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>“It was a cure for boredom, definitely, and a conduit for gossip,” she says. “But I think it really just made you feel connected to people even when you maybe weren’t with them, because you were like, ‘Oh, I’m writing a note to this person, or I’m waiting to get a note.’ There was that serotonin bump when you would get a note.”\u003c/p>\n\u003cp>As Loewinsohn’s teenage self explains in one of the handwritten notes that are interspersed throughout the book, “Notes make us feel … like we have a friend with us when really we are surrounded by zombies. … I can’t imagine how lonely I’d feel without them.”\u003c/p>\n\u003cp>\u003ci>Raised by Ghosts \u003c/i>will resonate with Gen Xers and elder millennials who went to high school in the ’90s, watched the same \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">movies\u003c/a> and TV shows, and made mixtapes with the same bands (Tupac, Green Day, The Smashing Pumpkins). Readers who grew up in the East Bay, in particular, will get a heavy dose of nostalgia from Loewinsohn’s lovingly rendered drawings of the old haunts where she and her friends spent their nights and weekends: Moe’s Books, Amoeba Music, Albany Bowl, all ages shows at Berkeley Square.\u003c/p>\n\u003cfigure id=\"attachment_13972142\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972142\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books.jpg\" alt=\"Illustration: A young woman strolls down a downtown street. The signs on the storefronts read, "Shambhala Publications" and "Moe's Books."\" width=\"2000\" height=\"2008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1530x1536.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1920x1928.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The book takes place at popular teen hangouts in the East Bay of the 1990s — including stores like Amoeba Music and Moe’s Books in Berkeley. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the book was really written with a teenage audience in mind, says Loewinsohn. On the one hand, she thinks many pages in \u003ci>Raised by Ghosts\u003c/i> will read as fun objects of curiosity for teens today, who might not talk on the phone at all anymore or at least not in the same way we Olds did — for six hours sometimes, twisting the long cord around our fingers, until our parents kicked us off the line or we literally fell asleep. They may have never known what it was like to fold up a handwritten note during a time when social media didn’t exist in the same way. (One of the most fun outcomes of the book, Loewinsohn says, would be if it helps spark a resurgence in note-writing among teens — which is why she included detailed origami diagrams for three different note-folding techniques in the appendix.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13972147 alignright\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-160x206.jpg\" alt=\"Cover for the book 'Raised by Ghosts.'\" width=\"240\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1020x1311.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-768x987.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1195x1536.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1593x2048.jpg 1593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1920x2468.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-scaled.jpg 1991w\" sizes=\"auto, (max-width: 240px) 100vw, 240px\">\u003c/p>\n\u003cp>Even more than that, though, Loewinsohn hopes young readers will take the book’s message to heart. “The intention of the book is really just to acknowledge how hard it is to be a teenager and how big the feelings are — whether they’re founded or unfounded is inconsequential. It is \u003ci>hard\u003c/i> to be a teenager,” she says. “And the book is to acknowledge that and to tell you, I see you. You’re doing great. Keep going, and look for things in your life that help you feel connected.”\u003c/p>\n\u003cp>It’s fitting, then, that one of Loewinsohn’s very first events promoting \u003ci>Raised by Ghosts\u003c/i> will be geared specifically for a teen audience. Her Feb. 22 reading at the Oakland Public Library will feature a Q&A led by fellow Oakland graphic novelist (and frequent \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">KQED contributor\u003c/a>) \u003ca href=\"https://www.kqed.org/arts/13930458/thien-pham-family-style-graphic-novel-food-memoir-vietnamese-refugee-san-jose-hella-hungry\">Thien Pham\u003c/a>, and Loewinsohn will also spend some time talking about how she got into drawing comics to begin with.\u003c/p>\n\u003cp>When asked about the challenges of catering a book event for a younger crowd, Loewinsohn noted that she talks to teenagers every day. She’s worked as a high school art teacher for the past 20 years, after all.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantagraphics.com/products/raised-by-ghosts?srsltid=AfmBOoopc3MlFgJFoIITS5LmDU5g4a8f1WbR0yb-b4RBpyvW2iQ2Tskv\">Raised by Ghosts\u003c/a> \u003ci>is available at all booksellers now. The \u003c/i>\u003ca href=\"https://www.instagram.com/p/DF_v8bSPsZH/\">\u003ci>Oakland Public Library event\u003c/i>\u003c/a>\u003ci> will take place on Saturday, Feb. 22, at 4 p.m., in the TeenZone at the main branch (125 14th St., Oakland). Follow Loewinsohn on \u003c/i>\u003ca href=\"https://www.instagram.com/brianabreaks/\">\u003ci>Instagram\u003c/i>\u003c/a>\u003ci> for details on other upcoming events.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "funk-music-bellbottoms-mothership-connection-south-berkeley-library",
"title": "Lessons in Funk Music and Bellbottom-Making at the South Berkeley Library",
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"content": "\u003cfigure id=\"attachment_13971344\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-scaled.jpg\" alt=\"A black and white photo of a man holding a record while sitting in a room with a bunch of other records on the wall.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">DeMareon Gipson, published author and Berkeley Public Library employee, holds up a copy of Sly and the Family Stone’s ‘There’s A Riot Goin’ On’ album flanked by Berkeley Public Library’s large record collection. \u003ccite>(Jaylin Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re used to decades-old funk songs being sampled in hip-hop and R&B, and clothing once considered fashionable making a comeback a generation or two later. It’s clear that history moves in cycles.\u003c/p>\n\u003cp>But a few East Bay creatives believe it also moves in “upcycles.”\u003c/p>\n\u003cp>That’s the concept behind \u003ca href=\"https://www.berkeleypubliclibrary.org/events/berkeley-record-club-mothership-connection\" target=\"_blank\" rel=\"noopener\">Mothership Connection\u003c/a>, a Feb. 27 event at the Tarea Hall Pittman South Berkeley Branch of the Berkeley Public Library.\u003c/p>\n\u003cfigure id=\"attachment_13971325\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13971325 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-800x1200.jpg\" alt=\"An older woman in glasses stands over the shoulder of a little girl as both of them use a sewing machine. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873.jpg 1536w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antioch’s Deborah Marchland stands over the shoulder of a young student to demonstrate proper use of a sewing machine. \u003ccite>( Sabira Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hosted by the Berkeley Record Club in association with Oakland-based nonprofit \u003ca href=\"https://www.communityfits.com/\" target=\"_blank\" rel=\"noopener\">Community Fits\u003c/a>, the free, all-ages event gives attendees a chance to explore the Berkeley Public Library’s collection of funk albums and to discuss their cultural impact.\u003c/p>\n\u003cp>People will also have the opportunity to upcycle their old jeans, making them look like pants from yesteryear — on par with the latest fashion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Wider jeans and bellbottoms are coming back in style,” says Brittani Kaigler, founder and director of \u003ca href=\"https://www.instagram.com/communityfits_/\" target=\"_blank\" rel=\"noopener\">Community Fits.\u003c/a>\u003c/p>\n\u003cp>Kaigler, who will lead a sewing machine tutorial at the event, is asking community members to bring their own pair of pants so they can cut slits into them, add fabric and turn them into bellbottoms.\u003c/p>\n\u003cp>It’s a potentially time-intensive process, so those who don’t finish at the event will be able to stop by her organization’s headquarters during one of their open studio sessions.\u003c/p>\n\u003cfigure id=\"attachment_13971324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13971324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-800x533.jpg\" alt=\"A woman teaches a young boy how to use a sewing machine.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittani Kaigler leans in as she teaches a young student how to use a sewing machine. \u003ccite>( Sabira Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We provide free programing for youth from marginalized communities,” says Kaigler of Community Fits. “And then we fund everything through adult classes,” Kaigler says, adding that the monthly schedule of classes covers a wide variety of textile arts.\u003c/p>\n\u003cp>Through those classes, Kaigler’s witnessed changes in fashion firsthand. “A lot of things that are coming back now were around when I was in middle school and high school,” says Kaigler, now in her mid-30s. “It all repeats itself. It just comes back in a modernized way.”\u003c/p>\n\u003cp>[aside postID='arts_13924126']After two years of running Community Fits, Kaigler has learned that the work isn’t just about fashion. “It’s really about providing culturally relevant programming to the community I’m serving,” Kaigler says, referring to the the long history of quilt-making and sewing in the African American community.\u003c/p>\n\u003cp>Pairing sewing with music, then, just made sense. “Funk music is distinctly Black,” says event co-organizer \u003ca href=\"https://www.instagram.com/gipson.fwd/\" target=\"_blank\" rel=\"noopener\">DeMareon Gipson\u003c/a>, “but its influence hasn’t been properly explored.”\u003c/p>\n\u003cp>Funk has been “a backbone genre” that’s served generations of Black people, Gipson says. He cites jazz artists that changed their sound due to funk’s influence, as well as R&B and hip-hop artists who’ve stood on the shoulders of the funk movement. “It’s Black History Month, so we’re celebrating a cornerstone of Black music,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13971345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13971345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-800x533.jpg\" alt=\"A black and white photo of a man holding a vinyl record, pointing to the image on the album's cover. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The back cover of Sly and the Family Stone’s album ‘There’s a Riot Goin’ On.’ \u003ccite>(Jaylin Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the event, Gipson, along with co-organizer Nico Ledwith, will spin songs on both vinyl and CD that shaped funk music. During the final 30 minutes of the two-hour event, attendees are invited to play songs from some of their own favorite funk albums.\u003c/p>\n\u003cp>“Plus there’ll be a raffle at the end,” says Gipson, noting that someone will leave with a new record to add to their collection.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Mothership Connection’ gets up for the down stroke on Thursday, Feb. 27, at the South Berkeley branch of the Berkeley Public Library. \u003ca href=\"https://www.berkeleypubliclibrary.org/events/berkeley-record-club-mothership-connection\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13971344\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-scaled.jpg\" alt=\"A black and white photo of a man holding a record while sitting in a room with a bunch of other records on the wall.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6776-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">DeMareon Gipson, published author and Berkeley Public Library employee, holds up a copy of Sly and the Family Stone’s ‘There’s A Riot Goin’ On’ album flanked by Berkeley Public Library’s large record collection. \u003ccite>(Jaylin Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re used to decades-old funk songs being sampled in hip-hop and R&B, and clothing once considered fashionable making a comeback a generation or two later. It’s clear that history moves in cycles.\u003c/p>\n\u003cp>But a few East Bay creatives believe it also moves in “upcycles.”\u003c/p>\n\u003cp>That’s the concept behind \u003ca href=\"https://www.berkeleypubliclibrary.org/events/berkeley-record-club-mothership-connection\" target=\"_blank\" rel=\"noopener\">Mothership Connection\u003c/a>, a Feb. 27 event at the Tarea Hall Pittman South Berkeley Branch of the Berkeley Public Library.\u003c/p>\n\u003cfigure id=\"attachment_13971325\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13971325 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-800x1200.jpg\" alt=\"An older woman in glasses stands over the shoulder of a little girl as both of them use a sewing machine. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC08873.jpg 1536w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antioch’s Deborah Marchland stands over the shoulder of a young student to demonstrate proper use of a sewing machine. \u003ccite>( Sabira Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hosted by the Berkeley Record Club in association with Oakland-based nonprofit \u003ca href=\"https://www.communityfits.com/\" target=\"_blank\" rel=\"noopener\">Community Fits\u003c/a>, the free, all-ages event gives attendees a chance to explore the Berkeley Public Library’s collection of funk albums and to discuss their cultural impact.\u003c/p>\n\u003cp>People will also have the opportunity to upcycle their old jeans, making them look like pants from yesteryear — on par with the latest fashion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Wider jeans and bellbottoms are coming back in style,” says Brittani Kaigler, founder and director of \u003ca href=\"https://www.instagram.com/communityfits_/\" target=\"_blank\" rel=\"noopener\">Community Fits.\u003c/a>\u003c/p>\n\u003cp>Kaigler, who will lead a sewing machine tutorial at the event, is asking community members to bring their own pair of pants so they can cut slits into them, add fabric and turn them into bellbottoms.\u003c/p>\n\u003cp>It’s a potentially time-intensive process, so those who don’t finish at the event will be able to stop by her organization’s headquarters during one of their open studio sessions.\u003c/p>\n\u003cfigure id=\"attachment_13971324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13971324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-800x533.jpg\" alt=\"A woman teaches a young boy how to use a sewing machine.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DSC08918-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittani Kaigler leans in as she teaches a young student how to use a sewing machine. \u003ccite>( Sabira Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We provide free programing for youth from marginalized communities,” says Kaigler of Community Fits. “And then we fund everything through adult classes,” Kaigler says, adding that the monthly schedule of classes covers a wide variety of textile arts.\u003c/p>\n\u003cp>Through those classes, Kaigler’s witnessed changes in fashion firsthand. “A lot of things that are coming back now were around when I was in middle school and high school,” says Kaigler, now in her mid-30s. “It all repeats itself. It just comes back in a modernized way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After two years of running Community Fits, Kaigler has learned that the work isn’t just about fashion. “It’s really about providing culturally relevant programming to the community I’m serving,” Kaigler says, referring to the the long history of quilt-making and sewing in the African American community.\u003c/p>\n\u003cp>Pairing sewing with music, then, just made sense. “Funk music is distinctly Black,” says event co-organizer \u003ca href=\"https://www.instagram.com/gipson.fwd/\" target=\"_blank\" rel=\"noopener\">DeMareon Gipson\u003c/a>, “but its influence hasn’t been properly explored.”\u003c/p>\n\u003cp>Funk has been “a backbone genre” that’s served generations of Black people, Gipson says. He cites jazz artists that changed their sound due to funk’s influence, as well as R&B and hip-hop artists who’ve stood on the shoulders of the funk movement. “It’s Black History Month, so we’re celebrating a cornerstone of Black music,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13971345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13971345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-800x533.jpg\" alt=\"A black and white photo of a man holding a vinyl record, pointing to the image on the album's cover. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_6783-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The back cover of Sly and the Family Stone’s album ‘There’s a Riot Goin’ On.’ \u003ccite>(Jaylin Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the event, Gipson, along with co-organizer Nico Ledwith, will spin songs on both vinyl and CD that shaped funk music. During the final 30 minutes of the two-hour event, attendees are invited to play songs from some of their own favorite funk albums.\u003c/p>\n\u003cp>“Plus there’ll be a raffle at the end,” says Gipson, noting that someone will leave with a new record to add to their collection.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Mothership Connection’ gets up for the down stroke on Thursday, Feb. 27, at the South Berkeley branch of the Berkeley Public Library. \u003ca href=\"https://www.berkeleypubliclibrary.org/events/berkeley-record-club-mothership-connection\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-lise-davidsen-berkeley-zellerbach-hall",
"title": "Soprano Lise Davidsen Delivers Transcendence in Her Bay Area Debut",
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"headTitle": "Soprano Lise Davidsen Delivers Transcendence in Her Bay Area Debut | KQED",
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"content": "\u003cp>\u003cem>One day, my thoughts, you shall be at peace.\u003c/em>\u003c/p>\n\u003cp>It was a day that, during a takeover of federal spending by the richest man in the world, the president motioned to relocate Palestinians and develop Gaza into a resort. I read about this latest assault on human sanity just before Lise Davidsen’s recital at Zellerbach Hall on Tuesday night, weary of the way that we as a country are being \u003ca href=\"https://en.wikipedia.org/wiki/Denial-of-service_attack\">DDoS\u003c/a>’ed, and facing the familiar dilemma: to scream, or to unplug? \u003c/p>\n\u003cp>\u003cem>One day, my thoughts, you shall be at peace.\u003c/em> These were the first lines sung by Davidsen in her Bay Area debut on Tuesday night, from Grieg’s \u003ca href=\"https://www.youtube.com/watch?v=R0A9yug8sNo\">Dereinst, Gedanke mein\u003c/a>, setting the tone for the next two hours. “Transportative” is the word I’m looking for, in this week of all weeks.\u003c/p>\n\u003cfigure id=\"attachment_13971375\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13971375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lise Davidsen with pianist Malcolm Martineau at Zellerbach Hall in Berkeley on Feb. 4, 2025. \u003ccite>(Katie Ravas for Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to say that Davidsen, 37, is a phenomenon in the opera world. The daughter of an electrician and a caretaker, she’s risen to be lauded as “the greatest soprano in the world right now” (\u003cem>The Telegraph\u003c/em>) and to receive a rare solo recital invitation from the Met in 2023 for a performance that \u003ca href=\"https://www.nytimes.com/2023/09/15/arts/music/lise-davidsen-recital-metropolitan-opera.html\">dazzled critics and fans alike\u003c/a>. She’s filmed \u003ca href=\"https://www.youtube.com/watch?v=TR2hG7ke2YQ\">a Tiny Desk Concert\u003c/a>. I know at least one person scrambling to see her next month in New York before she \u003ca href=\"https://apnews.com/article/lise-davidsen-pregnant-cancellations-opera-c02535bca7eaca739ef728668538d3e5\">takes a break to give birth to twins\u003c/a>. \u003c/p>\n\u003cp>“It’s always a bit nerve-racking to come to a place for the first time,” Davidsen said onstage Tuesday, joking that she’d worried no one would show up. (The hall was nearly sold out.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then, that range, that timbre, that \u003cem>voice\u003c/em>. In a floral print dress, singing Dido’s Lament by Purcell, Davidsen seemed to invent new vowels out of thin air. In the solo measures of Verdi’s “Tu che le vanità,” which brought several fans to their feet, I heard sounds I’ve never heard from a human throat. \u003c/p>\n\u003cfigure id=\"attachment_13971374\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13971374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lise Davidsen with pianist Malcolm Martineau at Zellerbach Hall in Berkeley on Feb. 4, 2025. \u003ccite>(Katie Ravas for Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davidsen has for years been in conversation with Richard Strauss’ work, which followed Verdi and showcased Davidsen’s full theatrical nature. After an intermission, and a wardrobe change to a floor-length charcoal dress, she sang a set of Schubert, including a crowd-pleasing “Ave Maria.” \u003c/p>\n\u003cp>Accompanied throughout the evening by pianist Malcolm Martineau, Davidsen closed the program with Wagner, including “Allmächtige Jungfrau” from \u003cem>Tannhäuser\u003c/em> and two songs from \u003cem>Wesendonck Lieder\u003c/em>. Then came one she’d never performed publicly before: “Liebestod,” from \u003cem>Tristan und Isolde\u003c/em>. Following Davidsen’s assured “Träume,” which Wagner wrote as a study for \u003cem>Tristan\u003c/em>, what it perhaps lacked in confidence it made up for in enunciation, tone and emotion, building to the piece’s transcendent climax.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We talk about transcendence in music a little too liberally, I think. But true transcendence, like that from Davidsen — when the concert hall’s ceiling seems to open wide and something divine whisks a transfixed audience to another place — I tell you, when it happens, it feels like it’s the only thing that’s gonna get us through.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>One day, my thoughts, you shall be at peace.\u003c/em>\u003c/p>\n\u003cp>It was a day that, during a takeover of federal spending by the richest man in the world, the president motioned to relocate Palestinians and develop Gaza into a resort. I read about this latest assault on human sanity just before Lise Davidsen’s recital at Zellerbach Hall on Tuesday night, weary of the way that we as a country are being \u003ca href=\"https://en.wikipedia.org/wiki/Denial-of-service_attack\">DDoS\u003c/a>’ed, and facing the familiar dilemma: to scream, or to unplug? \u003c/p>\n\u003cp>\u003cem>One day, my thoughts, you shall be at peace.\u003c/em> These were the first lines sung by Davidsen in her Bay Area debut on Tuesday night, from Grieg’s \u003ca href=\"https://www.youtube.com/watch?v=R0A9yug8sNo\">Dereinst, Gedanke mein\u003c/a>, setting the tone for the next two hours. “Transportative” is the word I’m looking for, in this week of all weeks.\u003c/p>\n\u003cfigure id=\"attachment_13971375\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13971375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lise Davidsen with pianist Malcolm Martineau at Zellerbach Hall in Berkeley on Feb. 4, 2025. \u003ccite>(Katie Ravas for Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to say that Davidsen, 37, is a phenomenon in the opera world. The daughter of an electrician and a caretaker, she’s risen to be lauded as “the greatest soprano in the world right now” (\u003cem>The Telegraph\u003c/em>) and to receive a rare solo recital invitation from the Met in 2023 for a performance that \u003ca href=\"https://www.nytimes.com/2023/09/15/arts/music/lise-davidsen-recital-metropolitan-opera.html\">dazzled critics and fans alike\u003c/a>. She’s filmed \u003ca href=\"https://www.youtube.com/watch?v=TR2hG7ke2YQ\">a Tiny Desk Concert\u003c/a>. I know at least one person scrambling to see her next month in New York before she \u003ca href=\"https://apnews.com/article/lise-davidsen-pregnant-cancellations-opera-c02535bca7eaca739ef728668538d3e5\">takes a break to give birth to twins\u003c/a>. \u003c/p>\n\u003cp>“It’s always a bit nerve-racking to come to a place for the first time,” Davidsen said onstage Tuesday, joking that she’d worried no one would show up. (The hall was nearly sold out.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then, that range, that timbre, that \u003cem>voice\u003c/em>. In a floral print dress, singing Dido’s Lament by Purcell, Davidsen seemed to invent new vowels out of thin air. In the solo measures of Verdi’s “Tu che le vanità,” which brought several fans to their feet, I heard sounds I’ve never heard from a human throat. \u003c/p>\n\u003cfigure id=\"attachment_13971374\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13971374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lise Davidsen with pianist Malcolm Martineau at Zellerbach Hall in Berkeley on Feb. 4, 2025. \u003ccite>(Katie Ravas for Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davidsen has for years been in conversation with Richard Strauss’ work, which followed Verdi and showcased Davidsen’s full theatrical nature. After an intermission, and a wardrobe change to a floor-length charcoal dress, she sang a set of Schubert, including a crowd-pleasing “Ave Maria.” \u003c/p>\n\u003cp>Accompanied throughout the evening by pianist Malcolm Martineau, Davidsen closed the program with Wagner, including “Allmächtige Jungfrau” from \u003cem>Tannhäuser\u003c/em> and two songs from \u003cem>Wesendonck Lieder\u003c/em>. Then came one she’d never performed publicly before: “Liebestod,” from \u003cem>Tristan und Isolde\u003c/em>. Following Davidsen’s assured “Träume,” which Wagner wrote as a study for \u003cem>Tristan\u003c/em>, what it perhaps lacked in confidence it made up for in enunciation, tone and emotion, building to the piece’s transcendent climax.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We talk about transcendence in music a little too liberally, I think. But true transcendence, like that from Davidsen — when the concert hall’s ceiling seems to open wide and something divine whisks a transfixed audience to another place — I tell you, when it happens, it feels like it’s the only thing that’s gonna get us through.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A BAMPFA Film Series Reconsiders the American Western",
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"content": "\u003cp>Leila Weefur started to notice a shift about five years ago. \u003c/p>\n\u003cp>Conservative culture was on the rise. Conservative politics were, too. Before long, Weefur watched while archetypes in popular culture followed suit: \u003cem>Yellowstone\u003c/em> was a hit. Louis Vuitton released a wild-west collection. Pop stars like Beyoncé and Post Malone went country. \u003c/p>\n\u003cp>Weefur, a Stanford lecturer and member of \u003ca href=\"https://www.theblkaesthetic.com/team/\">The Black Aesthetic\u003c/a> collective, began reflecting on being raised in Oakland by a Black Panther mother, who’d often call a young Weefur to her side during climactic scenes in Western movies on TV. For her, American Westerns weren’t just entertainment, but ways of seeing into America’s complex history.\u003c/p>\n\u003cfigure id=\"attachment_13970054\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13970054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sidney Poitier in ‘Buck and the Preacher.’ \u003ccite>(Columbia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the upcoming film series \u003cem>\u003ca href=\"https://bampfa.org/program/landscapes-myth-westerns-after-searchers\">Landscapes of Myth: Westerns After ‘The Searchers’\u003c/a>\u003c/em> at the Berkeley Art Museum and Pacific Film Archive, now it’s Weefur’s turn, as curator, to show others what they’ve been missing. And if you’re surprised to see a John Wayne film (\u003cem>The Searchers\u003c/em>) at a Bay Area museum — with its racist main character and depiction of Native Americans — you’re not alone. \u003c/p>\n\u003cp>“Some people have had questions around why I’m showing one of the most difficult and troubling Westerns to observe,” Weefur tells KQED. “And it’s because we really needed it to stand in contrast to everything that came after it.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>The Searchers\u003c/i>’ inclusion is perhaps emblematic of another cultural shift in the arts: a willingness to acknowledge and sit with what some might dismiss as “problematic” art.\u003c/p>\n\u003cp>“We really dampen, or cancel, or try to bury a lot of dark history — to pretend like we have moved on, or like we’ve emerged as a society,” Weefur says. The truth is, we haven’t.\u003c/p>\n\u003cfigure id=\"attachment_13970055\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005.jpg\" alt=\"\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13970055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-1920x803.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from the Argentinian western ‘Gaucho Gaucho.’ \u003ccite>(Impact Partners)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with \u003cem>The Searchers\u003c/em>, \u003cem>Landscapes of Myth\u003c/em> features lesser-known movies like Zacharias Kunuk’s \u003cem>Maliglutit\u003c/em> (“a reclamation of the troubling representation of Indigenous folks in John Ford’s films,” Weefur says) along with award-winning titles like Quentin Tarantino’s \u003cem>The Hateful Eight\u003c/em> and Jane Campion’s \u003cem>The Power of the Dog\u003c/em>. \u003c/p>\n\u003cp>Weefur is especially excited to show two short films: \u003cem>The Horse\u003c/em>, about a rural Black boy tending to his horse, and \u003cem>Gaucho Gaucho\u003c/em>, from Argentina, with its poetic, black-and-white cinematography. Other highlights include \u003cem>Buck and the Preacher\u003c/em> (Sidney Poitier, 1972), \u003cem>McCabe and Mrs. Miller\u003c/em> (Robert Altman, 1971) and \u003cem>Meek’s Cutoff\u003c/em> (Kelly Reichardt, 2010).\u003c/p>\n\u003cp>A constant through each is the big, gorgeous, expansive land, which fulfills a leading role of its own in any good Western. In \u003ca href=\"https://mailchi.mp/544b7b4d5a4b/landscapes-of-myth-westerns-after-the-searchers-at-bampfa\">a curatorial statement\u003c/a>, Weefur refers to Western landscapes as “a feminine presence, vast and unconquerable, standing in defiance of this rigid masculinity.” \u003c/p>\n\u003cp>For seven weeks in Berkeley, at least, the vast and unconquerable draws a little more near.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://bampfa.org/program/landscapes-myth-westerns-after-searchers\">Landscapes of Myth: American Westerns After ‘The Searchers’\u003c/a>’ runs Jan. 10–Feb. 28, 2025, at the Berkeley Art Museum and Pacific Film Archive.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leila Weefur started to notice a shift about five years ago. \u003c/p>\n\u003cp>Conservative culture was on the rise. Conservative politics were, too. Before long, Weefur watched while archetypes in popular culture followed suit: \u003cem>Yellowstone\u003c/em> was a hit. Louis Vuitton released a wild-west collection. Pop stars like Beyoncé and Post Malone went country. \u003c/p>\n\u003cp>Weefur, a Stanford lecturer and member of \u003ca href=\"https://www.theblkaesthetic.com/team/\">The Black Aesthetic\u003c/a> collective, began reflecting on being raised in Oakland by a Black Panther mother, who’d often call a young Weefur to her side during climactic scenes in Western movies on TV. For her, American Westerns weren’t just entertainment, but ways of seeing into America’s complex history.\u003c/p>\n\u003cfigure id=\"attachment_13970054\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13970054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Poitier_Buck-and-the-Preacher_004-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sidney Poitier in ‘Buck and the Preacher.’ \u003ccite>(Columbia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the upcoming film series \u003cem>\u003ca href=\"https://bampfa.org/program/landscapes-myth-westerns-after-searchers\">Landscapes of Myth: Westerns After ‘The Searchers’\u003c/a>\u003c/em> at the Berkeley Art Museum and Pacific Film Archive, now it’s Weefur’s turn, as curator, to show others what they’ve been missing. And if you’re surprised to see a John Wayne film (\u003cem>The Searchers\u003c/em>) at a Bay Area museum — with its racist main character and depiction of Native Americans — you’re not alone. \u003c/p>\n\u003cp>“Some people have had questions around why I’m showing one of the most difficult and troubling Westerns to observe,” Weefur tells KQED. “And it’s because we really needed it to stand in contrast to everything that came after it.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Searchers\u003c/i>’ inclusion is perhaps emblematic of another cultural shift in the arts: a willingness to acknowledge and sit with what some might dismiss as “problematic” art.\u003c/p>\n\u003cp>“We really dampen, or cancel, or try to bury a lot of dark history — to pretend like we have moved on, or like we’ve emerged as a society,” Weefur says. The truth is, we haven’t.\u003c/p>\n\u003cfigure id=\"attachment_13970055\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005.jpg\" alt=\"\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13970055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Collaboration_Gaucho-Gaucho_005-1920x803.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from the Argentinian western ‘Gaucho Gaucho.’ \u003ccite>(Impact Partners)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with \u003cem>The Searchers\u003c/em>, \u003cem>Landscapes of Myth\u003c/em> features lesser-known movies like Zacharias Kunuk’s \u003cem>Maliglutit\u003c/em> (“a reclamation of the troubling representation of Indigenous folks in John Ford’s films,” Weefur says) along with award-winning titles like Quentin Tarantino’s \u003cem>The Hateful Eight\u003c/em> and Jane Campion’s \u003cem>The Power of the Dog\u003c/em>. \u003c/p>\n\u003cp>Weefur is especially excited to show two short films: \u003cem>The Horse\u003c/em>, about a rural Black boy tending to his horse, and \u003cem>Gaucho Gaucho\u003c/em>, from Argentina, with its poetic, black-and-white cinematography. Other highlights include \u003cem>Buck and the Preacher\u003c/em> (Sidney Poitier, 1972), \u003cem>McCabe and Mrs. Miller\u003c/em> (Robert Altman, 1971) and \u003cem>Meek’s Cutoff\u003c/em> (Kelly Reichardt, 2010).\u003c/p>\n\u003cp>A constant through each is the big, gorgeous, expansive land, which fulfills a leading role of its own in any good Western. In \u003ca href=\"https://mailchi.mp/544b7b4d5a4b/landscapes-of-myth-westerns-after-the-searchers-at-bampfa\">a curatorial statement\u003c/a>, Weefur refers to Western landscapes as “a feminine presence, vast and unconquerable, standing in defiance of this rigid masculinity.” \u003c/p>\n\u003cp>For seven weeks in Berkeley, at least, the vast and unconquerable draws a little more near.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://bampfa.org/program/landscapes-myth-westerns-after-searchers\">Landscapes of Myth: American Westerns After ‘The Searchers’\u003c/a>’ runs Jan. 10–Feb. 28, 2025, at the Berkeley Art Museum and Pacific Film Archive.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.berkeleyartcenter.org/\">Berkeley Art Center\u003c/a>, a 57-year-old nonprofit arts space in North Berkeley’s Live Oak Park, announced on Dec. 13 the departure of co-directors Kimberley Acebo Arteche and Elena Gross. Arteche left the organization in August; Gross left in November. The search for a new executive director has now begun.\u003c/p>\n\u003cp>Like many nonprofits in the Bay Area, the Berkeley Art Center has struggled financially in the wake of the pandemic. In a Nov. 12 appeal to the Berkeley City Council for a \u003ca href=\"https://berkeleyca.gov/sites/default/files/documents/2024-11-12%20Item%2010%20Budget%20Referral%20and%20Technical%20Support.pdf\">$100,000 one-time emergency grant\u003c/a>, Councilmember Sophie Hahn explained the nonprofit’s “significant financial hardship” was a result of “the end of COVID-19 relief funds, a reduced donor base, and more.”\u003c/p>\n\u003cp>Berkeley Art Center Board President Kerri Hurtado confirmed to KQED that Arteche and Gross’ departure was a financial decision made by the board. The art center will now rely on volunteers, board members and a gallery manager — the lone paid staff member — until a new executive director comes on.\u003c/p>\n\u003cp>“We can financially support a single executive director,” Hurtado told KQED, as opposed to their previous co-director structure. “We’re really looking for someone who can help us strategically think about how to have a model that is really sustainable for a small organization like ourselves, where we do need multiple staff people and we want to be able to pay those people a living wage, a good wage.”\u003c/p>\n\u003cfigure id=\"attachment_13969620\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489.jpg\" alt=\"paintings on walls and living room set-up with couches and shelves in gallery\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Painting Ourselves Into Society,’ curated by Orlando Smith and Rahsaan Thomas, at the Berkeley Art Center. \u003ccite>(Francis Baker Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Art Center’s most recent tax filings show an operating budget of around $370,000. The nonprofit prides itself on paying artists and curators for their participation in shows, at three to seven times the rate recommended by \u003ca href=\"https://wageforwork.com/\">Working Artists and the Greater Economy\u003c/a> (W.A.G.E.), which establishes payment standards for artists working with nonprofits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And while they have been successful in securing funding for exhibitions and programs, Hurtado said, that doesn’t pay for workaday things like salaries or the cost of maintaining their building. (The city of Berkeley owns the heptagonal structure and the Berkeley Art Center occupies the space for free, but is responsible for its upkeep.)\u003c/p>\n\u003cp>“It’s just been really hard to secure general operating funds, especially from private foundations,” Hurtado said. “The philanthropic landscape has also been very challenging recently.”\u003c/p>\n\u003cp>Indeed, inflation and shifting funding priorities have created a perfect storm for arts nonprofits of all sizes.\u003c/p>\n\u003cp>[aside postid='arts_13968003']Berkeley Art Center’s announcement came just two days before the Contemporary Jewish Museum, a much larger nonprofit in San Francisco’s Yerba Buena arts district, \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">closed its doors for at least a year\u003c/a> to restructure and hopefully stave off permanent closure.\u003c/p>\n\u003cp>Despite their slimmed-down operations, Berkeley Art Center will remain open and free to the public. Their current show, \u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/painting-ourselves-into-society\">Painting Ourselves into Society\u003c/a>\u003c/i>, featuring the work of eight currently and formerly incarcerated artists, will be on view through Jan. 12, 2025.\u003c/p>\n\u003cp>Arteche, a talented artist in her own right, first took on the role of co-director in 2021, alongside Daniel Nevers. Gross, who has an impressive background in curation and arts writing, joined Arteche in 2022. Together, the co-directors grew and diversified Berkeley Art Center’s membership.\u003c/p>\n\u003cp>They also did remarkable grant-writing and curatorial work, Hurtado said — which is why Berkeley Art Center has exhibitions scheduled through 2025. In February, the art center will open \u003ci>Archives Yet to Come\u003c/i>, a group show curated by artist \u003ca href=\"https://www.kqed.org/arts/13903617/bay-area-artist-hannah-waiters-profile\">Hannah Waiters\u003c/a>. The annual juried member’s exhibition will take place in the summer. And toward the end of the year, a Creative Work Fund grant will support \u003ci>\u003ca href=\"https://creativeworkfund.org/?portfolio=berkeley-art-center-and-torreya-cummings\">Black Point Reinterpretive Site\u003c/a>\u003c/i>, an installation by Torreya Cummings and Sarah Lowe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s telling, though, that most grants are project-specific, and don’t cover general operating expenses — like the salaries of the staff members who worked to secure those funds. “We’re not the only ones going through a crisis like this,” Hurtado said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.berkeleyartcenter.org/\">Berkeley Art Center\u003c/a>, a 57-year-old nonprofit arts space in North Berkeley’s Live Oak Park, announced on Dec. 13 the departure of co-directors Kimberley Acebo Arteche and Elena Gross. Arteche left the organization in August; Gross left in November. The search for a new executive director has now begun.\u003c/p>\n\u003cp>Like many nonprofits in the Bay Area, the Berkeley Art Center has struggled financially in the wake of the pandemic. In a Nov. 12 appeal to the Berkeley City Council for a \u003ca href=\"https://berkeleyca.gov/sites/default/files/documents/2024-11-12%20Item%2010%20Budget%20Referral%20and%20Technical%20Support.pdf\">$100,000 one-time emergency grant\u003c/a>, Councilmember Sophie Hahn explained the nonprofit’s “significant financial hardship” was a result of “the end of COVID-19 relief funds, a reduced donor base, and more.”\u003c/p>\n\u003cp>Berkeley Art Center Board President Kerri Hurtado confirmed to KQED that Arteche and Gross’ departure was a financial decision made by the board. The art center will now rely on volunteers, board members and a gallery manager — the lone paid staff member — until a new executive director comes on.\u003c/p>\n\u003cp>“We can financially support a single executive director,” Hurtado told KQED, as opposed to their previous co-director structure. “We’re really looking for someone who can help us strategically think about how to have a model that is really sustainable for a small organization like ourselves, where we do need multiple staff people and we want to be able to pay those people a living wage, a good wage.”\u003c/p>\n\u003cfigure id=\"attachment_13969620\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489.jpg\" alt=\"paintings on walls and living room set-up with couches and shelves in gallery\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/web-4489-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Painting Ourselves Into Society,’ curated by Orlando Smith and Rahsaan Thomas, at the Berkeley Art Center. \u003ccite>(Francis Baker Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Art Center’s most recent tax filings show an operating budget of around $370,000. The nonprofit prides itself on paying artists and curators for their participation in shows, at three to seven times the rate recommended by \u003ca href=\"https://wageforwork.com/\">Working Artists and the Greater Economy\u003c/a> (W.A.G.E.), which establishes payment standards for artists working with nonprofits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while they have been successful in securing funding for exhibitions and programs, Hurtado said, that doesn’t pay for workaday things like salaries or the cost of maintaining their building. (The city of Berkeley owns the heptagonal structure and the Berkeley Art Center occupies the space for free, but is responsible for its upkeep.)\u003c/p>\n\u003cp>“It’s just been really hard to secure general operating funds, especially from private foundations,” Hurtado said. “The philanthropic landscape has also been very challenging recently.”\u003c/p>\n\u003cp>Indeed, inflation and shifting funding priorities have created a perfect storm for arts nonprofits of all sizes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Berkeley Art Center’s announcement came just two days before the Contemporary Jewish Museum, a much larger nonprofit in San Francisco’s Yerba Buena arts district, \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">closed its doors for at least a year\u003c/a> to restructure and hopefully stave off permanent closure.\u003c/p>\n\u003cp>Despite their slimmed-down operations, Berkeley Art Center will remain open and free to the public. Their current show, \u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/painting-ourselves-into-society\">Painting Ourselves into Society\u003c/a>\u003c/i>, featuring the work of eight currently and formerly incarcerated artists, will be on view through Jan. 12, 2025.\u003c/p>\n\u003cp>Arteche, a talented artist in her own right, first took on the role of co-director in 2021, alongside Daniel Nevers. Gross, who has an impressive background in curation and arts writing, joined Arteche in 2022. Together, the co-directors grew and diversified Berkeley Art Center’s membership.\u003c/p>\n\u003cp>They also did remarkable grant-writing and curatorial work, Hurtado said — which is why Berkeley Art Center has exhibitions scheduled through 2025. In February, the art center will open \u003ci>Archives Yet to Come\u003c/i>, a group show curated by artist \u003ca href=\"https://www.kqed.org/arts/13903617/bay-area-artist-hannah-waiters-profile\">Hannah Waiters\u003c/a>. The annual juried member’s exhibition will take place in the summer. And toward the end of the year, a Creative Work Fund grant will support \u003ci>\u003ca href=\"https://creativeworkfund.org/?portfolio=berkeley-art-center-and-torreya-cummings\">Black Point Reinterpretive Site\u003c/a>\u003c/i>, an installation by Torreya Cummings and Sarah Lowe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s telling, though, that most grants are project-specific, and don’t cover general operating expenses — like the salaries of the staff members who worked to secure those funds. “We’re not the only ones going through a crisis like this,” Hurtado said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13969326\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256.jpg\" alt=\"\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Simon Keyser Petty, center, Jazzschool Community Music School professor of funk, on stage at the California Jazz Conservatory’s concert hall in Berkeley, Calif., on Saturday, Dec. 7, 2024, with students Tobey Palathingal, 15, left, and Rea Horgan, 15, before their performance begins. With its degree program ending, the organization is turning its attention to the Jazzschool, a community education program. \u003ccite>(Florence Middleton for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trí Phạm, a 26-year-old guitar player from Vietnam, was falling more and more in love with jazz, and knew he wanted to move to the United States.\u003c/p>\n\u003cp>Other musicians might have been lured to the jazz scene of New York, but Phạm chose Berkeley, home to the California Jazz Conservatory (CJC). His dream came true when he landed a scholarship to study there, and enrolled this fall.\u003c/p>\n\u003cp>“My true love is jazz. I wanted to play it and study it more, but the jazz scene in Vietnam is very, very new. So I felt a bit lonely there,” Phạm said. “All of my musical heroes, they all come from the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13969324\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg\" alt='the front of a building is seen from the outside with the word \"jazz\" illuminated' width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The California Jazz Conservatory in Berkeley, Calif., on Saturday, Dec. 7, 2024. The conservatory is the only private, accredited institution in the country dedicated exclusively to the study of jazz. After this fall semester, the conservatory is permanently closing its degree program. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Phạm’s first semester will also be his last. Because of declining enrollment, the degree programs at the CJC are ending. Phạm and his cohort will mark the end of their musical journey at CJC during \u003ca href=\"https://concerts.cjc.edu/cjc-degree-program-student-performances\">final concerts on Dec. 16 and 17\u003c/a>.\u003c/p>\n\u003cp>“It’s totally heartbreaking,” Phạm said. “It’s hard to accept because the school is amazing, the program is amazing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pham loves the school so much that he enrolled in as many classes as he could, from theory to bebop to jazz history. He’s learned from musicians he admires at the school, including Jeff Denson, Gerald Cleaver, and Mimi Fox, one of his favorite guitarists.\u003c/p>\n\u003cfigure id=\"attachment_13969319\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg\" alt=\"four students playing instruments\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(clockwise from top left) Nolan Kim, 18, plays the trombone, Ansha Anant, 14, plays the alto saxophone, and Kemet Albasiel, 17, and Jasper Chan, 16, play the tenor saxophone during a rehearsal with the Jazzschool Community Music School youth funk ensemble class before they perform in the California Jazz Conservatory’s concert hall in Berkeley on Dec. 7, 2024. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Students and alumni say the CJC gave them the chance to build a foundation in jazz, play alongside talented faculty, and grow into the musicians they are today.\u003c/p>\n\u003cp>The opportunity to earn a degree at a place like the CJC is rare. The institution is the only private music conservatory in the country solely devoted to the study and performance of jazz. The school, which gained accreditation in 2013, is the vision of Susan Muscarella, an educator and pianist who has sought to establish “the Juilliard of jazz on the West Coast.”\u003c/p>\n\u003cp>But the COVID-19 pandemic lockdowns caused a major dip in enrollment, said Nick Phillips, who became president of the California Jazz Conservatory in October of 2023. The high cost of living in the Bay Area also makes it difficult to recruit students to a smaller California school offering only jazz.\u003c/p>\n\u003cfigure id=\"attachment_13969321\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg\" alt=\"young people with instruments\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left, Nolan Kim, 18, Wilder Kagay, 17, Alexander Furber, 17, and Jasper Chan, 16, walk off stage with their Jazzschool Community Music School youth funk ensemble class after they performed in the California Jazz Conservatory’s concert hall in Berkeley on Dec. 7, 2024. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phillips said in 2014, about 70 students were enrolled in CJC’s degree program. By the fall of 2023, that number had dropped to 20 students.\u003c/p>\n\u003cp>“For a degree program to be sustainable, you need to have students enrolled in it. That’s just the bottom line,” said Phillips.\u003c/p>\n\u003cp>About one university or college per week on average this year has announced that it will close or merge, according to an April report from the Hechinger Report, a nonprofit, independent news organization focused on inequality and innovation in education.\u003c/p>\n\u003cfigure id=\"attachment_13969323\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg\" alt=\"\" width=\"1334\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wilder Kagay, 17, plays the bass during a rehearsal with his California Jazz Conservatory youth funk ensemble class before they perform in the conservatory’s concert hall in Berkeley. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CJC announced the end of the degree programs in July, but made the decision to offer it one final semester to give students and faculty enough notice. The school is also helping students transfer credits.\u003c/p>\n\u003cp>The organization is also turning its attention to the Jazzschool, the CJC’s community education program, where enrollment numbers are rebounding.\u003c/p>\n\u003cp>“A place where people can explore and learn jazz — that’s what we want to continue,” Phillips said.\u003c/p>\n\u003ch2>The legacy of the jazz program\u003c/h2>\n\u003cp>As the CJC transitions into its next chapter, students and alumni are reflecting on how the degree program shaped their lives as musicians. Ruthie Dineen, a pianist, composer, and the executive director of the East Bay Center for the Performing Arts, was part of the school’s first graduating class.\u003c/p>\n\u003cfigure id=\"attachment_13969318\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg\" alt=\"a woman in a black leather jacket plays the keyboard\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ruthie Dineen, executive director for East Bay Center for the Performing Arts, practices with the band Bululú before a KQED live event in San Francisco on Dec. 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think about the Bay Area music scene as one large band. I feel like I’m still finding my voice, but that was really how I became part of it,” Dineen said.\u003c/p>\n\u003cp>The CJC made jazz education accessible for students like Dineen. She remembered being awestruck as a kid seeing Berkeley High’s jazz band perform.\u003c/p>\n\u003cp>“The group was so diverse. I vividly remember that, because as a young girl coming from a family from El Salvador, none of this seemed very accessible,” Dineen said. “My mom was a nurse, my dad was a firefighter. So it’s just a whole other world.”\u003c/p>\n\u003cfigure id=\"attachment_13969320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg\" alt=\"\" width=\"2000\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1020x340.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-768x256.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1536x511.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1920x639.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rea Horgan, 15, plays the bass during a rehearsal with her Jazzschool Community Music School youth funk ensemble class before they perform in the California Jazz Conservatory’s concert hall in Berkeley. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 2009, Susan Muscarella asked Dineen if she would attend the new jazz degree program she was starting up in Berkeley.\u003c/p>\n\u003cp>The school offered Dineen a scholarship. She enrolled, taking private piano lessons with Susan, who pushed her hard.\u003c/p>\n\u003cp>“I cared so much about Susan, and I was so grateful to her in particular for providing that education to me,” Dineen said.\u003c/p>\n\u003ch2>Out with a bang\u003c/h2>\n\u003cp>Now the remaining students at the CJC are preparing for their final concerts and next chapters. Phạm, the international student from Vietnam, plans to continue studying in the United States, and wants to be a teacher one day.\u003c/p>\n\u003cp>His classmate, pianist Abner Robles, is determined to go out with a bang. He’s also an apprentice at Callahan Piano Service, a shop offering piano care, tuning, and rebuilding. He’s living the life of a tradesman, a musician and — for now — a student.\u003c/p>\n\u003cfigure id=\"attachment_13969315\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969315\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg\" alt=\"a young man plays the piano\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California Jazz Conservatory student Abner Robles behind the piano. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robles grew up singing in church choir, and discovered jazz during the pandemic after hanging around musicians in Sacramento who loved to improvise.\u003c/p>\n\u003cp>“Improvising doesn’t have to mean that it’s this crazy advanced thing that only the chosen ones can do. You can boil it down to the simplest thing ever,” Robles said.\u003c/p>\n\u003cp>He has no regrets about taking the leap to study at the CJC.\u003c/p>\n\u003cp>“I knew I wanted to be in a Hogwarts of music,” Robles said. “I enjoy this semester more than the other ones because with the professors, all their focus is on us, and they want to build us up. Now is as intense as it gets and as cool as it gets.”\u003c/p>\n\u003cp>He knows attracting students is a challenge, especially when so many aspiring jazz musicians want to move to New York. But he’s proud he got the chance to study in Berkeley.\u003c/p>\n\u003cp>“What I have learned up to this point, and people that I’ve met, I wouldn’t trade that for anything,” he said. “I have a lot of love for that school.”\u003c/p>\n\u003cp>He’s looking at other schools now, like the San Francisco Conservatory of Music. His friends at CJC are doing the same.\u003c/p>\n\u003cp>Like any good jazz musician, these students know how to improvise.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The end-of-semester degree performances are scheduled for Dec. 16 and 17, 2024 at 8 p.m. at the California Jazz Conservatory (2040 Addison St., Berkeley). \u003ca href=\"https://concerts.cjc.edu/cjc-degree-program-student-performances\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13969326\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256.jpg\" alt=\"\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Simon Keyser Petty, center, Jazzschool Community Music School professor of funk, on stage at the California Jazz Conservatory’s concert hall in Berkeley, Calif., on Saturday, Dec. 7, 2024, with students Tobey Palathingal, 15, left, and Rea Horgan, 15, before their performance begins. With its degree program ending, the organization is turning its attention to the Jazzschool, a community education program. \u003ccite>(Florence Middleton for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trí Phạm, a 26-year-old guitar player from Vietnam, was falling more and more in love with jazz, and knew he wanted to move to the United States.\u003c/p>\n\u003cp>Other musicians might have been lured to the jazz scene of New York, but Phạm chose Berkeley, home to the California Jazz Conservatory (CJC). His dream came true when he landed a scholarship to study there, and enrolled this fall.\u003c/p>\n\u003cp>“My true love is jazz. I wanted to play it and study it more, but the jazz scene in Vietnam is very, very new. So I felt a bit lonely there,” Phạm said. “All of my musical heroes, they all come from the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13969324\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg\" alt='the front of a building is seen from the outside with the word \"jazz\" illuminated' width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The California Jazz Conservatory in Berkeley, Calif., on Saturday, Dec. 7, 2024. The conservatory is the only private, accredited institution in the country dedicated exclusively to the study of jazz. After this fall semester, the conservatory is permanently closing its degree program. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Phạm’s first semester will also be his last. Because of declining enrollment, the degree programs at the CJC are ending. Phạm and his cohort will mark the end of their musical journey at CJC during \u003ca href=\"https://concerts.cjc.edu/cjc-degree-program-student-performances\">final concerts on Dec. 16 and 17\u003c/a>.\u003c/p>\n\u003cp>“It’s totally heartbreaking,” Phạm said. “It’s hard to accept because the school is amazing, the program is amazing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pham loves the school so much that he enrolled in as many classes as he could, from theory to bebop to jazz history. He’s learned from musicians he admires at the school, including Jeff Denson, Gerald Cleaver, and Mimi Fox, one of his favorite guitarists.\u003c/p>\n\u003cfigure id=\"attachment_13969319\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg\" alt=\"four students playing instruments\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(clockwise from top left) Nolan Kim, 18, plays the trombone, Ansha Anant, 14, plays the alto saxophone, and Kemet Albasiel, 17, and Jasper Chan, 16, play the tenor saxophone during a rehearsal with the Jazzschool Community Music School youth funk ensemble class before they perform in the California Jazz Conservatory’s concert hall in Berkeley on Dec. 7, 2024. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Students and alumni say the CJC gave them the chance to build a foundation in jazz, play alongside talented faculty, and grow into the musicians they are today.\u003c/p>\n\u003cp>The opportunity to earn a degree at a place like the CJC is rare. The institution is the only private music conservatory in the country solely devoted to the study and performance of jazz. The school, which gained accreditation in 2013, is the vision of Susan Muscarella, an educator and pianist who has sought to establish “the Juilliard of jazz on the West Coast.”\u003c/p>\n\u003cp>But the COVID-19 pandemic lockdowns caused a major dip in enrollment, said Nick Phillips, who became president of the California Jazz Conservatory in October of 2023. The high cost of living in the Bay Area also makes it difficult to recruit students to a smaller California school offering only jazz.\u003c/p>\n\u003cfigure id=\"attachment_13969321\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg\" alt=\"young people with instruments\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left, Nolan Kim, 18, Wilder Kagay, 17, Alexander Furber, 17, and Jasper Chan, 16, walk off stage with their Jazzschool Community Music School youth funk ensemble class after they performed in the California Jazz Conservatory’s concert hall in Berkeley on Dec. 7, 2024. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phillips said in 2014, about 70 students were enrolled in CJC’s degree program. By the fall of 2023, that number had dropped to 20 students.\u003c/p>\n\u003cp>“For a degree program to be sustainable, you need to have students enrolled in it. That’s just the bottom line,” said Phillips.\u003c/p>\n\u003cp>About one university or college per week on average this year has announced that it will close or merge, according to an April report from the Hechinger Report, a nonprofit, independent news organization focused on inequality and innovation in education.\u003c/p>\n\u003cfigure id=\"attachment_13969323\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg\" alt=\"\" width=\"1334\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wilder Kagay, 17, plays the bass during a rehearsal with his California Jazz Conservatory youth funk ensemble class before they perform in the conservatory’s concert hall in Berkeley. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CJC announced the end of the degree programs in July, but made the decision to offer it one final semester to give students and faculty enough notice. The school is also helping students transfer credits.\u003c/p>\n\u003cp>The organization is also turning its attention to the Jazzschool, the CJC’s community education program, where enrollment numbers are rebounding.\u003c/p>\n\u003cp>“A place where people can explore and learn jazz — that’s what we want to continue,” Phillips said.\u003c/p>\n\u003ch2>The legacy of the jazz program\u003c/h2>\n\u003cp>As the CJC transitions into its next chapter, students and alumni are reflecting on how the degree program shaped their lives as musicians. Ruthie Dineen, a pianist, composer, and the executive director of the East Bay Center for the Performing Arts, was part of the school’s first graduating class.\u003c/p>\n\u003cfigure id=\"attachment_13969318\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg\" alt=\"a woman in a black leather jacket plays the keyboard\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ruthie Dineen, executive director for East Bay Center for the Performing Arts, practices with the band Bululú before a KQED live event in San Francisco on Dec. 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think about the Bay Area music scene as one large band. I feel like I’m still finding my voice, but that was really how I became part of it,” Dineen said.\u003c/p>\n\u003cp>The CJC made jazz education accessible for students like Dineen. She remembered being awestruck as a kid seeing Berkeley High’s jazz band perform.\u003c/p>\n\u003cp>“The group was so diverse. I vividly remember that, because as a young girl coming from a family from El Salvador, none of this seemed very accessible,” Dineen said. “My mom was a nurse, my dad was a firefighter. So it’s just a whole other world.”\u003c/p>\n\u003cfigure id=\"attachment_13969320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg\" alt=\"\" width=\"2000\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1020x340.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-768x256.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1536x511.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1920x639.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rea Horgan, 15, plays the bass during a rehearsal with her Jazzschool Community Music School youth funk ensemble class before they perform in the California Jazz Conservatory’s concert hall in Berkeley. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 2009, Susan Muscarella asked Dineen if she would attend the new jazz degree program she was starting up in Berkeley.\u003c/p>\n\u003cp>The school offered Dineen a scholarship. She enrolled, taking private piano lessons with Susan, who pushed her hard.\u003c/p>\n\u003cp>“I cared so much about Susan, and I was so grateful to her in particular for providing that education to me,” Dineen said.\u003c/p>\n\u003ch2>Out with a bang\u003c/h2>\n\u003cp>Now the remaining students at the CJC are preparing for their final concerts and next chapters. Phạm, the international student from Vietnam, plans to continue studying in the United States, and wants to be a teacher one day.\u003c/p>\n\u003cp>His classmate, pianist Abner Robles, is determined to go out with a bang. He’s also an apprentice at Callahan Piano Service, a shop offering piano care, tuning, and rebuilding. He’s living the life of a tradesman, a musician and — for now — a student.\u003c/p>\n\u003cfigure id=\"attachment_13969315\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969315\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg\" alt=\"a young man plays the piano\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California Jazz Conservatory student Abner Robles behind the piano. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robles grew up singing in church choir, and discovered jazz during the pandemic after hanging around musicians in Sacramento who loved to improvise.\u003c/p>\n\u003cp>“Improvising doesn’t have to mean that it’s this crazy advanced thing that only the chosen ones can do. You can boil it down to the simplest thing ever,” Robles said.\u003c/p>\n\u003cp>He has no regrets about taking the leap to study at the CJC.\u003c/p>\n\u003cp>“I knew I wanted to be in a Hogwarts of music,” Robles said. “I enjoy this semester more than the other ones because with the professors, all their focus is on us, and they want to build us up. Now is as intense as it gets and as cool as it gets.”\u003c/p>\n\u003cp>He knows attracting students is a challenge, especially when so many aspiring jazz musicians want to move to New York. But he’s proud he got the chance to study in Berkeley.\u003c/p>\n\u003cp>“What I have learned up to this point, and people that I’ve met, I wouldn’t trade that for anything,” he said. “I have a lot of love for that school.”\u003c/p>\n\u003cp>He’s looking at other schools now, like the San Francisco Conservatory of Music. His friends at CJC are doing the same.\u003c/p>\n\u003cp>Like any good jazz musician, these students know how to improvise.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The end-of-semester degree performances are scheduled for Dec. 16 and 17, 2024 at 8 p.m. at the California Jazz Conservatory (2040 Addison St., Berkeley). \u003ca href=\"https://concerts.cjc.edu/cjc-degree-program-student-performances\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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?",
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},
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"id": "baycurious",
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"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. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"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": {
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"source": "kqed",
"order": 12
},
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