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"title": "Rightnowish Presents: Liner Notes",
"headTitle": "Rightnowish Presents: Liner Notes | KQED",
"content": "\u003cp>Welcome to Liner Notes, the Rightnowish podcast series all about jazz in the Bay Area. Through five conversations with key players in the scene, we gain some insight into the past and present of jazz in the Bay Area.\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cfigure id=\"attachment_13930276\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930276 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png\" alt=\"Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting his jazz radio show. He is holding a cd case and reading the track list. \" width=\"800\" height=\"439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1020x560.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-768x422.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1536x843.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-2048x1124.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1920x1054.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting a jazz radio show. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4300364745&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Greg Bridges, Jazz Radio Host and Journalist\u003c/strong>\u003c/p>\n\u003cp>We start with a conversation with someone who has a wealth of knowledge, especially when it comes to jazz in the Bay: \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges.\u003c/a>\u003c/p>\n\u003cp>As a journalist and longtime radio host at Bay Area radio stations KCSM and KPFA, Greg is steeped in Bay Area jazz history. And as a reoccurring host of events like the San Jose Jazz Festival, he has his finger on the current pulse of the culture. But this isn’t just a career choice, he was born into the world of jazz.\u003c/p>\n\u003cp>In this episode Greg shares some family history and gives us the lay of the land when it comes to jazz in the Bay. He also shares the secret ingredient that makes the Bay Area’s jazz scene unique.\u003c/p>\n\u003cfigure id=\"attachment_13930297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930297 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg\" alt=\"Lidia Rodriguez is poses with her baritone saxophone. She looks off camera and in her left hand holds a succulent in a skeleton-themed pot. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lidia Rodriguez is a prominent baritone saxophone player based in San Jose by way of Stockton. She’s on a mission to spread peace and love through her instrument one show at a time. \u003ccite>(Via Lidia Rodriguez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2510938176&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cb>\u003cbr>\nLidia Rodriguez, Baritone Saxophonist and Music Educator \u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lidiapeacelovesax.com/\">Lidia Rodriguez\u003c/a> is a premier baritone saxophone player who grew up in Mudville a.k.a. Stockton, CA. Now based in San Jose, Lidia teaches music education to K-5th grade students, helping young people discover the joys of playing instruments, and practice self-love and self-expression. In the evenings, Lidia can be found playing shows with a number of bands, including the Golden State Warriors’ jazz band, the Bay Blue Notes, and the percussive electronic artist Madame Gandhi.\u003c/p>\n\u003cp>In case you didn’t know, the baritone saxophone stands out among the other saxophones because it’s the biggest in size and plays the lowest notes. Lidia’s big personality and big curly hair are a perfect match for the baritone saxophone— together they command audience attention. To watch Lidia on the “bari sax” is to witness an artist be totally in sync with an instrument. Real talk, Lidia can go dumb playing Mac Dre on the sax.\u003c/p>\n\u003cp>In this episode, Lidia shares with us her journey from being a cantankerous kid who once took all the screws out of a flute, to an adult who shuts down machismo in the music scene, all while becoming a rockstar educator and performer.\u003c/p>\n\u003cfigure id=\"attachment_13930304\" class=\"wp-caption aligncenter\" style=\"max-width: 415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930304 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg\" alt=\"Dr. Angela Wellman wears a graduation cap and gown as she receives her PHD. \" width=\"415\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-800x1531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-160x306.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-768x1470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-803x1536.jpg 803w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1.jpg 1070w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Angela Wellman celebrates her 2023 graduation. \u003ccite>(Via Dr. Angela Wellman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8994929597&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nDr. Angela Wellman, Trombonist and Music Education Activist\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/wellmanangela/\" target=\"_blank\" rel=\"noopener\">Dr. Angela Wellman’s\u003c/a> musical journey traces back to her upbringing in Kansas City, MO. As a young person involved in a music training initiative that was backed by the CETA (Comprehensive Employment and Training Act) program, she found the trombone– or rather, it found her.\u003c/p>\n\u003cp>In 2005, after music carried her around the map, Angela founded the \u003ca href=\"https://opcclasses.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Oakland Public Conservatory of Music \u003c/a>as a way to assist Black and brown kids in accessing musical education. Now, after receiving numerous accolades for her work, including the National Endowment for the Arts Jazz Study Fellowship and being inducted into the Alameda County Women’s Hall of Fame, Dr. Wellman recently completed her doctorate degree in education. The focus of her dissertation: the importance of access to music for Black and brown children.\u003c/p>\n\u003cfigure id=\"attachment_13930308\" class=\"wp-caption aligncenter\" style=\"max-width: 439px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930308 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg\" alt=\"A black and white photo of musician Giulio Xavier Cetto playing an upright bass.\" width=\"439\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-160x213.jpg 160w\" sizes=\"(max-width: 439px) 100vw, 439px\">\u003cfigcaption class=\"wp-caption-text\">Between touring and recording with notable musicians, bass player Giulio Xavier Cetto composes original music for his band Big Trippin. \u003ccite>(Donovan Washington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3420729776&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Giulio Xavier Cetto, Bass player and Composer\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Raised in musical family, \u003ca href=\"https://www.giulioxaviercetto.com/\">Giulio Xavier Cetto’s\u003c/a> musical influences range from his Venezuelan-Italian heritage to Bay Area rap. Giulio can play multiple styles and genres with ease, but at the intersection of jazz and hip hop is where his artistry truly shines. He brings an electric energy to his performances, encouraging audiences to not only vibe, but to get up and dance.\u003c/p>\n\u003cp>Playing tribute to these genres, Giulio hosts and performs at a reoccurring “Sunday Slaps” night at San Francisco’s beloved jazz venue, Black Cat. He also curates a weekly jazz set at Golden Gate Park’s Stowe Lake Boathouse.\u003c/p>\n\u003cp>Between gigging and recording with notable musicians including Kev Choice, Spelling, Kassa Overall, and Fantastic Negrito, he leads and composes original music for his own jazz band, Big Trippin. On their debut album, which drops this year, you can hear Giulio’s passion for jazz and hip hop.\u003c/p>\n\u003cp>On Rightnowish, Giulio talks about his favorite San Francisco venues to perform in, how the synthesis between jazz and hip-hop shape his sound and why the bass (upright and electric) is the heart of music.\u003c/p>\n\u003cfigure id=\"attachment_13930309\" class=\"wp-caption alignnone\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930309 \" style=\"background-color: transparent;font-weight: bold;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg\" alt=\"Elena Pinderhughes, an extremely talented flutist and vocalist from Berkeley, is pictured in a stylish brown and beige jacket and mocha shirt, hoop earrings and braids as she poses for a photo. \" width=\"486\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1920x1920.jpg 1920w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Elena Pinderhughes is an extremely talented flutist and vocalist from Berkeley. \u003ccite>(Darrin Baldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9039639824&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nElena Pinderhughes, Vocalist and Flutist \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/iamelena/\" target=\"_blank\" rel=\"noopener\">Elena Pinderhughes\u003c/a> has been around the East Bay jazz scene since before she learned how to walk. After recording her first published work as a kid, she has gone on to share stages with Herbie Hancock and work with Carlos Santana. She’s also played NPR’s Tiny Desk with Chief Xian aTunde Adjuah (formerly Christian Scott) and even rocked on stage at Coachella with Future.\u003c/p>\n\u003cp>But Elena says she wouldn’t be where she is today without family support and the musical institutions of the East Bay. While working with her brother, pianist and vocalist Samora Pinderhughes, assisted her growth at home, organizations like the \u003ca href=\"https://www.youngmusiciansco.org/\" target=\"_blank\" rel=\"noopener\">Young Musicians Choral Orchestra\u003c/a> aided her progress in the community.\u003c/p>\n\u003cp>Elena is preparing for the next iteration of her career, relying on the tools given to her by the Bay Area’s multi-talented musical community, as she moves into the world of scoring films, making R&B music and more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Welcome to Liner Notes, the Rightnowish podcast series all about jazz in the Bay Area. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to Liner Notes, the Rightnowish podcast series all about jazz in the Bay Area. Through five conversations with key players in the scene, we gain some insight into the past and present of jazz in the Bay Area.\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cfigure id=\"attachment_13930276\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930276 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png\" alt=\"Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting his jazz radio show. He is holding a cd case and reading the track list. \" width=\"800\" height=\"439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1020x560.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-768x422.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1536x843.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-2048x1124.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1920x1054.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting a jazz radio show. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4300364745&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Greg Bridges, Jazz Radio Host and Journalist\u003c/strong>\u003c/p>\n\u003cp>We start with a conversation with someone who has a wealth of knowledge, especially when it comes to jazz in the Bay: \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges.\u003c/a>\u003c/p>\n\u003cp>As a journalist and longtime radio host at Bay Area radio stations KCSM and KPFA, Greg is steeped in Bay Area jazz history. And as a reoccurring host of events like the San Jose Jazz Festival, he has his finger on the current pulse of the culture. But this isn’t just a career choice, he was born into the world of jazz.\u003c/p>\n\u003cp>In this episode Greg shares some family history and gives us the lay of the land when it comes to jazz in the Bay. He also shares the secret ingredient that makes the Bay Area’s jazz scene unique.\u003c/p>\n\u003cfigure id=\"attachment_13930297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930297 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg\" alt=\"Lidia Rodriguez is poses with her baritone saxophone. She looks off camera and in her left hand holds a succulent in a skeleton-themed pot. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lidia Rodriguez is a prominent baritone saxophone player based in San Jose by way of Stockton. She’s on a mission to spread peace and love through her instrument one show at a time. \u003ccite>(Via Lidia Rodriguez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2510938176&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cb>\u003cbr>\nLidia Rodriguez, Baritone Saxophonist and Music Educator \u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lidiapeacelovesax.com/\">Lidia Rodriguez\u003c/a> is a premier baritone saxophone player who grew up in Mudville a.k.a. Stockton, CA. Now based in San Jose, Lidia teaches music education to K-5th grade students, helping young people discover the joys of playing instruments, and practice self-love and self-expression. In the evenings, Lidia can be found playing shows with a number of bands, including the Golden State Warriors’ jazz band, the Bay Blue Notes, and the percussive electronic artist Madame Gandhi.\u003c/p>\n\u003cp>In case you didn’t know, the baritone saxophone stands out among the other saxophones because it’s the biggest in size and plays the lowest notes. Lidia’s big personality and big curly hair are a perfect match for the baritone saxophone— together they command audience attention. To watch Lidia on the “bari sax” is to witness an artist be totally in sync with an instrument. Real talk, Lidia can go dumb playing Mac Dre on the sax.\u003c/p>\n\u003cp>In this episode, Lidia shares with us her journey from being a cantankerous kid who once took all the screws out of a flute, to an adult who shuts down machismo in the music scene, all while becoming a rockstar educator and performer.\u003c/p>\n\u003cfigure id=\"attachment_13930304\" class=\"wp-caption aligncenter\" style=\"max-width: 415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930304 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg\" alt=\"Dr. Angela Wellman wears a graduation cap and gown as she receives her PHD. \" width=\"415\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-800x1531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-160x306.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-768x1470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-803x1536.jpg 803w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1.jpg 1070w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Angela Wellman celebrates her 2023 graduation. \u003ccite>(Via Dr. Angela Wellman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8994929597&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nDr. Angela Wellman, Trombonist and Music Education Activist\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/wellmanangela/\" target=\"_blank\" rel=\"noopener\">Dr. Angela Wellman’s\u003c/a> musical journey traces back to her upbringing in Kansas City, MO. As a young person involved in a music training initiative that was backed by the CETA (Comprehensive Employment and Training Act) program, she found the trombone– or rather, it found her.\u003c/p>\n\u003cp>In 2005, after music carried her around the map, Angela founded the \u003ca href=\"https://opcclasses.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Oakland Public Conservatory of Music \u003c/a>as a way to assist Black and brown kids in accessing musical education. Now, after receiving numerous accolades for her work, including the National Endowment for the Arts Jazz Study Fellowship and being inducted into the Alameda County Women’s Hall of Fame, Dr. Wellman recently completed her doctorate degree in education. The focus of her dissertation: the importance of access to music for Black and brown children.\u003c/p>\n\u003cfigure id=\"attachment_13930308\" class=\"wp-caption aligncenter\" style=\"max-width: 439px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930308 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg\" alt=\"A black and white photo of musician Giulio Xavier Cetto playing an upright bass.\" width=\"439\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-160x213.jpg 160w\" sizes=\"(max-width: 439px) 100vw, 439px\">\u003cfigcaption class=\"wp-caption-text\">Between touring and recording with notable musicians, bass player Giulio Xavier Cetto composes original music for his band Big Trippin. \u003ccite>(Donovan Washington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3420729776&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Giulio Xavier Cetto, Bass player and Composer\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Raised in musical family, \u003ca href=\"https://www.giulioxaviercetto.com/\">Giulio Xavier Cetto’s\u003c/a> musical influences range from his Venezuelan-Italian heritage to Bay Area rap. Giulio can play multiple styles and genres with ease, but at the intersection of jazz and hip hop is where his artistry truly shines. He brings an electric energy to his performances, encouraging audiences to not only vibe, but to get up and dance.\u003c/p>\n\u003cp>Playing tribute to these genres, Giulio hosts and performs at a reoccurring “Sunday Slaps” night at San Francisco’s beloved jazz venue, Black Cat. He also curates a weekly jazz set at Golden Gate Park’s Stowe Lake Boathouse.\u003c/p>\n\u003cp>Between gigging and recording with notable musicians including Kev Choice, Spelling, Kassa Overall, and Fantastic Negrito, he leads and composes original music for his own jazz band, Big Trippin. On their debut album, which drops this year, you can hear Giulio’s passion for jazz and hip hop.\u003c/p>\n\u003cp>On Rightnowish, Giulio talks about his favorite San Francisco venues to perform in, how the synthesis between jazz and hip-hop shape his sound and why the bass (upright and electric) is the heart of music.\u003c/p>\n\u003cfigure id=\"attachment_13930309\" class=\"wp-caption alignnone\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930309 \" style=\"background-color: transparent;font-weight: bold;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg\" alt=\"Elena Pinderhughes, an extremely talented flutist and vocalist from Berkeley, is pictured in a stylish brown and beige jacket and mocha shirt, hoop earrings and braids as she poses for a photo. \" width=\"486\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1920x1920.jpg 1920w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Elena Pinderhughes is an extremely talented flutist and vocalist from Berkeley. \u003ccite>(Darrin Baldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9039639824&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nElena Pinderhughes, Vocalist and Flutist \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/iamelena/\" target=\"_blank\" rel=\"noopener\">Elena Pinderhughes\u003c/a> has been around the East Bay jazz scene since before she learned how to walk. After recording her first published work as a kid, she has gone on to share stages with Herbie Hancock and work with Carlos Santana. She’s also played NPR’s Tiny Desk with Chief Xian aTunde Adjuah (formerly Christian Scott) and even rocked on stage at Coachella with Future.\u003c/p>\n\u003cp>But Elena says she wouldn’t be where she is today without family support and the musical institutions of the East Bay. While working with her brother, pianist and vocalist Samora Pinderhughes, assisted her growth at home, organizations like the \u003ca href=\"https://www.youngmusiciansco.org/\" target=\"_blank\" rel=\"noopener\">Young Musicians Choral Orchestra\u003c/a> aided her progress in the community.\u003c/p>\n\u003cp>Elena is preparing for the next iteration of her career, relying on the tools given to her by the Bay Area’s multi-talented musical community, as she moves into the world of scoring films, making R&B music and more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13930280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-800x1124.jpg\" alt=\"The cover of a graphic novel titled 'The Talk' features an illustration of a Black boy wearing a grey hoodie. \" width=\"800\" height=\"1124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-800x1124.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-1020x1434.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-768x1080.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-1093x1536.jpg 1093w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-1457x2048.jpg 1457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784.jpg 1817w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’The Talk’ by Darrin Bell. \u003ccite>(Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the prologue to Darrin Bell’s expansive debut graphic memoir, \u003cem>The Talk\u003c/em>, he illustrates, in comics, his memory of being six years old and coming face to face with a pack of snarling, snaggle-toothed dogs. The children around him kneel and hold out their hands to the terrifying animals, but in the moment young Bell can only freeze.\u003c/p>\n\u003cp>[aside postid='arts_13929396']His wide eyes, drawn in simple cartoonish lines that seem nearly to jump off the page, enmesh readers in the scene. The child senses the dogs’ continued pursuit of him for weeks after, though his older brother, Steven, assures him he is just imagining the threat. At the conclusion to this prescient opening, the curly haired boy is drawn sitting safely on a school bus, riding away from what he most fears. He crouches over a piece of paper, red crayon in hand, as the adult Bell recounts of his young self, speaking in the present tense: “I draw the beast I know I saw.”\u003c/p>\n\u003cp>Bell’s galvanizing new work is all about those two interjecting words, “I know.” \u003cem>The Talk \u003c/em>explores the question of how people — in this case, a precocious, geeky, and artistic young man, the child of a white mother and Black father — know what they know. How can you make sense of the world around you when your lived experiences don’t match up with the conflicting things people around you, particularly adults, say or do?\u003c/p>\n\u003cfigure id=\"attachment_13930289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-800x1143.png\" alt=\"A page from 'The Talk' in which a young Black boy asks his mom why his new water pistol is green and doesn't look anything like a real gun.\" width=\"800\" height=\"1143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-800x1143.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-768x1098.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM.png 834w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘The Talk.’ \u003ccite>(Darrin Bell/ Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first chapter tracks another pivotal, horrifying moment from the same year in the boy’s young life. Bell’s mom holds off on buying her son a water gun for fear of the racialized violence that daily puts Black boys and men disproportionately at risk. When she finally succumbs to her young son’s pleas to join in on the children’s games he sees on the playground, the result, unbeknownst to her, is as disastrous as it is devastating. He is refilling his neon green water gun in a puddle on a street corner, imagining himself a heroic Luke Skywalker in hot pursuit, when a police officer descends on him. The incident stuns the child out of play and into paralysis, and he cannot talk about it for years after. That day, he goes home, dismisses his mother’s inquiries, and sits alone to draw.\u003c/p>\n\u003cp>[aside postid='arts_13929802']\u003cem>The Talk \u003c/em>goes on to trace decisive moments in the cartoonist’s childhood and adolescence as he navigates his way through Los Angeles and Berkeley in the 1980s and ’90s, and into his adult life as a successful professional, a husband and a father. It’s a portrait of an artist coming into his own — Bell is a Pulitzer-prize winning editorial cartoonist as well as the creator of a number of hugely popular syndicated comic strips, including \u003cem>Candorville.\u003c/em> Like Ta-Nehisi Coates’s \u003cem>Between the World and Me\u003c/em>, and Kwame Alexander’s more recent \u003cem>Why Fathers Cry at Night\u003c/em>, the book is in part premised on a parent’s desire to address hard subjects with his young children in mind. He wants not so much to explain how, or why, the world works as it does — though Bell’s imaginative, deeply thoughtful metaphors and analogies for racism and prejudice consistently pepper the book in trenchant ways. Instead readers might think of \u003cem>The Talk \u003c/em>in keeping with Bell’s description of editorial cartooning. Soon after he wins the Pulitzer for his work satirizing Trump and his political machinations, he narrates: “My son asks if I won for saying how to fix it. I tell him, no, I won for pointing out what’s broken.”\u003c/p>\n\u003cfigure id=\"attachment_13930290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-800x768.png\" alt=\"An illustration of a Black man staring at his reflection in a window. Instead of himself, he sees Trayvon Martin.\" width=\"800\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-800x768.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-1020x979.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-768x737.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM.png 1292w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘The Talk.’ \u003ccite>(Darrin Bell/ Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book is visually stunning, and propulsive, with an absorbing narrative voice. Divided into almost two dozen chapters, its drawings fluctuate from the whimsically cartoonish to the delightfully painterly. The page layouts are complex and often surprising, with illustrations sometimes splitting at the seams to suggest confusion, or fluctuation. At other times single images swell across pages to convey the overwhelming atmosphere of a caustic memory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13929021']The subject matter is often difficult, as the book gathers episodes taken from years and years of micro and macro aggressions as experienced by the narrator. They are violent words and acts accrued from strangers as well as those who have known him over the years, from a school friend to a white female professor at Berkeley who baselessly accuses Bell of plagiarism at the very end of his senior year.\u003c/p>\n\u003cp>Despite its weighty, multi-tiered approach — this is not, on multiple levels, an easy read — \u003cem>The Talk \u003c/em>is difficult to put down. Reminiscent of longform comics memoirs such as Alison Bechdel’s \u003cem>Fun Home \u003c/em>and Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, stories about young writers and artists finding their ways through both personal and structural hardships and strife, this epic portrait of an artist is a masterpiece. Like the effects of an unduly perceptive editorial cartoon, \u003cem>The Talk \u003c/em>makes a penetrative, and lasting, impression.\u003c/p>\n\u003cfigure id=\"attachment_13930291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-800x1069.png\" alt=\"An illustration depicts a close up view of an eyeball and eyelashes. Reflected in the eye is a Black man closely embracing an infant. \" width=\"800\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-800x1069.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-768x1026.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM.png 964w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’The Talk’ by Darrin Bell. \u003ccite>(Darrin Bell/Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Talk%27+is+an+epic+portrait+of+an+artist+making+his+way+through+hardships&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His wide eyes, drawn in simple cartoonish lines that seem nearly to jump off the page, enmesh readers in the scene. The child senses the dogs’ continued pursuit of him for weeks after, though his older brother, Steven, assures him he is just imagining the threat. At the conclusion to this prescient opening, the curly haired boy is drawn sitting safely on a school bus, riding away from what he most fears. He crouches over a piece of paper, red crayon in hand, as the adult Bell recounts of his young self, speaking in the present tense: “I draw the beast I know I saw.”\u003c/p>\n\u003cp>Bell’s galvanizing new work is all about those two interjecting words, “I know.” \u003cem>The Talk \u003c/em>explores the question of how people — in this case, a precocious, geeky, and artistic young man, the child of a white mother and Black father — know what they know. How can you make sense of the world around you when your lived experiences don’t match up with the conflicting things people around you, particularly adults, say or do?\u003c/p>\n\u003cfigure id=\"attachment_13930289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-800x1143.png\" alt=\"A page from 'The Talk' in which a young Black boy asks his mom why his new water pistol is green and doesn't look anything like a real gun.\" width=\"800\" height=\"1143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-800x1143.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-768x1098.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM.png 834w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘The Talk.’ \u003ccite>(Darrin Bell/ Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first chapter tracks another pivotal, horrifying moment from the same year in the boy’s young life. Bell’s mom holds off on buying her son a water gun for fear of the racialized violence that daily puts Black boys and men disproportionately at risk. When she finally succumbs to her young son’s pleas to join in on the children’s games he sees on the playground, the result, unbeknownst to her, is as disastrous as it is devastating. He is refilling his neon green water gun in a puddle on a street corner, imagining himself a heroic Luke Skywalker in hot pursuit, when a police officer descends on him. The incident stuns the child out of play and into paralysis, and he cannot talk about it for years after. That day, he goes home, dismisses his mother’s inquiries, and sits alone to draw.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Talk \u003c/em>goes on to trace decisive moments in the cartoonist’s childhood and adolescence as he navigates his way through Los Angeles and Berkeley in the 1980s and ’90s, and into his adult life as a successful professional, a husband and a father. It’s a portrait of an artist coming into his own — Bell is a Pulitzer-prize winning editorial cartoonist as well as the creator of a number of hugely popular syndicated comic strips, including \u003cem>Candorville.\u003c/em> Like Ta-Nehisi Coates’s \u003cem>Between the World and Me\u003c/em>, and Kwame Alexander’s more recent \u003cem>Why Fathers Cry at Night\u003c/em>, the book is in part premised on a parent’s desire to address hard subjects with his young children in mind. He wants not so much to explain how, or why, the world works as it does — though Bell’s imaginative, deeply thoughtful metaphors and analogies for racism and prejudice consistently pepper the book in trenchant ways. Instead readers might think of \u003cem>The Talk \u003c/em>in keeping with Bell’s description of editorial cartooning. Soon after he wins the Pulitzer for his work satirizing Trump and his political machinations, he narrates: “My son asks if I won for saying how to fix it. I tell him, no, I won for pointing out what’s broken.”\u003c/p>\n\u003cfigure id=\"attachment_13930290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-800x768.png\" alt=\"An illustration of a Black man staring at his reflection in a window. Instead of himself, he sees Trayvon Martin.\" width=\"800\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-800x768.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-1020x979.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-768x737.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM.png 1292w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘The Talk.’ \u003ccite>(Darrin Bell/ Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book is visually stunning, and propulsive, with an absorbing narrative voice. Divided into almost two dozen chapters, its drawings fluctuate from the whimsically cartoonish to the delightfully painterly. The page layouts are complex and often surprising, with illustrations sometimes splitting at the seams to suggest confusion, or fluctuation. At other times single images swell across pages to convey the overwhelming atmosphere of a caustic memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The subject matter is often difficult, as the book gathers episodes taken from years and years of micro and macro aggressions as experienced by the narrator. They are violent words and acts accrued from strangers as well as those who have known him over the years, from a school friend to a white female professor at Berkeley who baselessly accuses Bell of plagiarism at the very end of his senior year.\u003c/p>\n\u003cp>Despite its weighty, multi-tiered approach — this is not, on multiple levels, an easy read — \u003cem>The Talk \u003c/em>is difficult to put down. Reminiscent of longform comics memoirs such as Alison Bechdel’s \u003cem>Fun Home \u003c/em>and Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, stories about young writers and artists finding their ways through both personal and structural hardships and strife, this epic portrait of an artist is a masterpiece. Like the effects of an unduly perceptive editorial cartoon, \u003cem>The Talk \u003c/em>makes a penetrative, and lasting, impression.\u003c/p>\n\u003cfigure id=\"attachment_13930291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-800x1069.png\" alt=\"An illustration depicts a close up view of an eyeball and eyelashes. Reflected in the eye is a Black man closely embracing an infant. \" width=\"800\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-800x1069.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-768x1026.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM.png 964w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’The Talk’ by Darrin Bell. \u003ccite>(Darrin Bell/Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Talk%27+is+an+epic+portrait+of+an+artist+making+his+way+through+hardships&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Behold the Afghan Burrito: A Bay Area Classic, Remixed",
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"content": "\u003cp>No one would dispute the Mission burrito’s status as an \u003ca href=\"https://www.kqed.org/arts/13900855/garlic-noodles-sf-bay-area-iconic-foods-thanh-long-smellys\">iconic, quintessential Bay Area food\u003c/a>. But in case you needed further evidence, consider the many tortilla-wrapped spinoffs that our region’s multicultural food communities have wrought: Here in the Bay, we have Mexipino \u003ca href=\"https://www.senorsisig.com/menu\">sisig burritos\u003c/a>. We have kati roll-esque \u003ca href=\"https://www.curryupnow.com/menu\">Indian burritos\u003c/a> stuffed full of saag paneer or chicken tikka masala. Vegan barbecue burritos (aka “\u003ca href=\"https://veganmob.biz/menu\">barbequitos\u003c/a>”). \u003ca href=\"https://tacorea.com/menu\">Korean burritos\u003c/a> layered with gochujang and kimchi.\u003c/p>\n\u003cp>The latest trendsetter? West Berkeley’s \u003ca href=\"https://www.instagram.com/afghanburrito/\">Afghan Burrito\u003c/a>, whose namesake specialty comes generously stuffed with kebab-inspired chicken or steak, rice, beans and — crucially — a signature “Golden Sauce” so top-secret that co-owners Khalid Popal and Hani Kharufeh are reluctant to tell me \u003ci>any \u003c/i>of its ingredients. (“There’s water,” Kharufeh conceded the third time I asked the question.)\u003c/p>\n\u003cp>This is a tasty, well-constructed burrito by any measure: The meat has that satisfying kiss of smoke you only get from grilling over a live fire; the beans are toothsome; the rice is well seasoned. But the sauce is what sets the burrito apart, giving it a slightly sweet, buttery richness (though it’s not made with butter) and a flavor profile loosely reminiscent of something you might find at one of New York City’s famed halal chicken carts.\u003c/p>\n\u003cp>Wrapped in eye-catching gold foil, the burritos are delicious enough, and aesthetically pleasing enough, to become the Bay Area food scene’s next big thing.\u003c/p>\n\u003cfigure id=\"attachment_13929782\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929782\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/afghan-burrito.jpg\" alt=\"An oozy, overstuffed burrito wrapped in gold foil.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The gold foil–wrapped burrito is delicious — and also ready for Instagram. \u003ccite>(Courtesy of Afghan Burrito)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But according to the restaurant’s founders, the Afghan burrito actually has a long history in the East Bay, going back at least 30 years. That’s when Popal’s uncle, Kabir Nejat, invented it for his own restaurant, \u003ca href=\"https://www.instagram.com/thehotshopofficial/\">the Hot Shop\u003c/a> in Albany, which sells a similar style of burrito to this day, just two miles up San Pablo Avenue. Nejat is the one who created the now-famous golden sauce and then sold the recipe to Popal and Kharufeh in 2020, when the two friends were looking to open their own food business.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In that sense, the Afghan burrito is a cherished family recipe as much as it is some newfangled fusion creation. “We’re living off that legacy,” Kharufeh says.\u003c/p>\n\u003cp>And if Afghan burritos haven’t gotten a lot of mainstream traction up until this point, that might be in part because the Hot Shop has never branded them quite so explicitly. It lists the equivalent burrito on its menu as a “Tropical Burrito” (or “Cajun Burrito,” if you want it to be spicy). Also, the golden sauce is described as a “\u003ca href=\"https://www.facebook.com/photo/?fbid=429499815911663&set=a.429499779245000\">tropical honey curry sauce\u003c/a>” — another clue to its ingredient makeup, perhaps.\u003c/p>\n\u003cp>Kharufeh and Popal stress that their take on an Afghan burrito is mostly identical to a classic Mission burrito in its construction. Popal, the restaurant’s main chef, added his own tweaks to his uncle’s sauce, which is made with a blend of “a lot of spices” that are typical in Central Asian cooking, the only one of which he’s willing to reveal is turmeric. That’s what gives the sauce its characteristic golden hue. He also developed a new marination technique for the meats that’s based on the traditional way you would marinate Afghan kebabs.\u003c/p>\n\u003cp>The results speak for themselves. Afghan Burrito opened its San Pablo Avenue storefront last spring after an initial stint in a commercial kitchen, and the burritos have already built up a loyal and diverse fanbase. For Ramadan, earlier this spring, the restaurant stayed open late on the weekend so that Muslim customers could come for suhoor, the pre-sunrise meal eaten before the start of a day of fasting. It wound up being a huge success — though “ironically,” Kharufeh says, “Muslims didn’t show up.”\u003c/p>\n\u003cfigure id=\"attachment_13929783\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929783\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/afghan-burrito-outdoors.jpg\" alt=\"A restaurant's palm tree–lined parking lot and outdoor dining area lit up at night.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Through the end of the summer, the restaurant will stay open until 1 a.m. on weekends. \u003ccite>(Courtesy of Afghan Burrito)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, the restaurant’s tented dining area filled up with folks from all backgrounds — “our tribe,” as Kharufeh puts it — who were simply thrilled to find a rare late-night food spot in Berkeley. The response was so enthusiastic that the restaurant plans to stay open until 1 a.m. on Fridays and Saturdays at least through the end of the summer.\u003c/p>\n\u003cp>[aside postID='arts_13900855,arts_13929494,arts_13895209']Meanwhile, Popal and Kharufeh have even bigger plans in the works. They say their West Berkeley location was never meant to house just one restaurant. Instead, they’ve dubbed the venue the “Cal Food Garden” and want to develop the outdoor dining area, in particular, as a welcoming, family-friendly community space. Eventually, they plan to open additional vendors within that space, including a cafe and a barbecue restaurant that will be built around another set of old recipes they’ve acquired — from Big Daddy’s Barbecue, a spot that was popular in Oakland back in the ’80s.\u003c/p>\n\u003cp>As for Afghan Burrito, Popal and Kharufeh say the burritos are just the beginning. This summer they’ll expand the menu to include crowd pleasers like fried chicken, loaded fries and something they suspect people will like even better than the burritos: Afghan \u003ci>tacos\u003c/i>, drizzled with that same golden sauce their customers can’t get enough of.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Afghan Burrito is open Monday through Thursday 11 a.m–9 p.m. and Fri.–Sat. 11 a.m.–1 a.m. at 2309 San Pablo Ave. in Berkeley.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No one would dispute the Mission burrito’s status as an \u003ca href=\"https://www.kqed.org/arts/13900855/garlic-noodles-sf-bay-area-iconic-foods-thanh-long-smellys\">iconic, quintessential Bay Area food\u003c/a>. But in case you needed further evidence, consider the many tortilla-wrapped spinoffs that our region’s multicultural food communities have wrought: Here in the Bay, we have Mexipino \u003ca href=\"https://www.senorsisig.com/menu\">sisig burritos\u003c/a>. We have kati roll-esque \u003ca href=\"https://www.curryupnow.com/menu\">Indian burritos\u003c/a> stuffed full of saag paneer or chicken tikka masala. Vegan barbecue burritos (aka “\u003ca href=\"https://veganmob.biz/menu\">barbequitos\u003c/a>”). \u003ca href=\"https://tacorea.com/menu\">Korean burritos\u003c/a> layered with gochujang and kimchi.\u003c/p>\n\u003cp>The latest trendsetter? West Berkeley’s \u003ca href=\"https://www.instagram.com/afghanburrito/\">Afghan Burrito\u003c/a>, whose namesake specialty comes generously stuffed with kebab-inspired chicken or steak, rice, beans and — crucially — a signature “Golden Sauce” so top-secret that co-owners Khalid Popal and Hani Kharufeh are reluctant to tell me \u003ci>any \u003c/i>of its ingredients. (“There’s water,” Kharufeh conceded the third time I asked the question.)\u003c/p>\n\u003cp>This is a tasty, well-constructed burrito by any measure: The meat has that satisfying kiss of smoke you only get from grilling over a live fire; the beans are toothsome; the rice is well seasoned. But the sauce is what sets the burrito apart, giving it a slightly sweet, buttery richness (though it’s not made with butter) and a flavor profile loosely reminiscent of something you might find at one of New York City’s famed halal chicken carts.\u003c/p>\n\u003cp>Wrapped in eye-catching gold foil, the burritos are delicious enough, and aesthetically pleasing enough, to become the Bay Area food scene’s next big thing.\u003c/p>\n\u003cfigure id=\"attachment_13929782\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929782\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/afghan-burrito.jpg\" alt=\"An oozy, overstuffed burrito wrapped in gold foil.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The gold foil–wrapped burrito is delicious — and also ready for Instagram. \u003ccite>(Courtesy of Afghan Burrito)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But according to the restaurant’s founders, the Afghan burrito actually has a long history in the East Bay, going back at least 30 years. That’s when Popal’s uncle, Kabir Nejat, invented it for his own restaurant, \u003ca href=\"https://www.instagram.com/thehotshopofficial/\">the Hot Shop\u003c/a> in Albany, which sells a similar style of burrito to this day, just two miles up San Pablo Avenue. Nejat is the one who created the now-famous golden sauce and then sold the recipe to Popal and Kharufeh in 2020, when the two friends were looking to open their own food business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In that sense, the Afghan burrito is a cherished family recipe as much as it is some newfangled fusion creation. “We’re living off that legacy,” Kharufeh says.\u003c/p>\n\u003cp>And if Afghan burritos haven’t gotten a lot of mainstream traction up until this point, that might be in part because the Hot Shop has never branded them quite so explicitly. It lists the equivalent burrito on its menu as a “Tropical Burrito” (or “Cajun Burrito,” if you want it to be spicy). Also, the golden sauce is described as a “\u003ca href=\"https://www.facebook.com/photo/?fbid=429499815911663&set=a.429499779245000\">tropical honey curry sauce\u003c/a>” — another clue to its ingredient makeup, perhaps.\u003c/p>\n\u003cp>Kharufeh and Popal stress that their take on an Afghan burrito is mostly identical to a classic Mission burrito in its construction. Popal, the restaurant’s main chef, added his own tweaks to his uncle’s sauce, which is made with a blend of “a lot of spices” that are typical in Central Asian cooking, the only one of which he’s willing to reveal is turmeric. That’s what gives the sauce its characteristic golden hue. He also developed a new marination technique for the meats that’s based on the traditional way you would marinate Afghan kebabs.\u003c/p>\n\u003cp>The results speak for themselves. Afghan Burrito opened its San Pablo Avenue storefront last spring after an initial stint in a commercial kitchen, and the burritos have already built up a loyal and diverse fanbase. For Ramadan, earlier this spring, the restaurant stayed open late on the weekend so that Muslim customers could come for suhoor, the pre-sunrise meal eaten before the start of a day of fasting. It wound up being a huge success — though “ironically,” Kharufeh says, “Muslims didn’t show up.”\u003c/p>\n\u003cfigure id=\"attachment_13929783\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929783\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/afghan-burrito-outdoors.jpg\" alt=\"A restaurant's palm tree–lined parking lot and outdoor dining area lit up at night.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/afghan-burrito-outdoors-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Through the end of the summer, the restaurant will stay open until 1 a.m. on weekends. \u003ccite>(Courtesy of Afghan Burrito)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, the restaurant’s tented dining area filled up with folks from all backgrounds — “our tribe,” as Kharufeh puts it — who were simply thrilled to find a rare late-night food spot in Berkeley. The response was so enthusiastic that the restaurant plans to stay open until 1 a.m. on Fridays and Saturdays at least through the end of the summer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, Popal and Kharufeh have even bigger plans in the works. They say their West Berkeley location was never meant to house just one restaurant. Instead, they’ve dubbed the venue the “Cal Food Garden” and want to develop the outdoor dining area, in particular, as a welcoming, family-friendly community space. Eventually, they plan to open additional vendors within that space, including a cafe and a barbecue restaurant that will be built around another set of old recipes they’ve acquired — from Big Daddy’s Barbecue, a spot that was popular in Oakland back in the ’80s.\u003c/p>\n\u003cp>As for Afghan Burrito, Popal and Kharufeh say the burritos are just the beginning. This summer they’ll expand the menu to include crowd pleasers like fried chicken, loaded fries and something they suspect people will like even better than the burritos: Afghan \u003ci>tacos\u003c/i>, drizzled with that same golden sauce their customers can’t get enough of.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Afghan Burrito is open Monday through Thursday 11 a.m–9 p.m. and Fri.–Sat. 11 a.m.–1 a.m. at 2309 San Pablo Ave. in Berkeley.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dog-friendly-events-bay-area-summer-worlds-ugliest-dog-dog-surfing-pacifica",
"title": "Bow Wow Wow Yippee Yo in the Bay: 8 Dog-Friendly Events for Summer",
"publishDate": 1684425651,
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"headTitle": "Bow Wow Wow Yippee Yo in the Bay: 8 Dog-Friendly Events for Summer | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.nytimes.com/2006/11/27/opinion/27foer.html\">2006 op-ed for the \u003cem>New York Times\u003c/em>\u003c/a>, novelist \u003ca href=\"https://en.wikipedia.org/wiki/Jonathan_Safran_Foer\">Jonathan Safran Foer\u003c/a> pondered: “Why does watching a dog be a dog fill one with happiness? And why does it make one feel, in the best sense of the word, human?”\u003c/p>\n\u003cp>The answer to those questions is this: Who cares, man! Let’s just agree that dogs are the greatest and take every opportunity to hang out with them. Our own dogs… other people’s dogs… all of those dogs at the same time…\u003c/p>\n\u003cp>If you, like Safran Foer, feel better when there are canines around, you’re going to want to attend at least some of the following dog-centric events in the Bay Area this summer.\u003c/p>\n\u003cfigure id=\"attachment_13929073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-800x533.jpg\" alt=\"A collie wearing a conical party hat.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Get ready to paaaawtaaaaay. \u003ccite>(Iuliia Zavalishina, iStock/ Getty Images Plus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bark-at-spark-summer-paw-ty-tickets-632984332177?aff=ebdssbdestsearch\">Bark at SPARK Summer Paw-ty\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 21\u003c/em>\u003cbr>\n\u003cem>Spark Social, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This fundraiser for \u003ca href=\"https://ilovefamilydog.org/\">Family Dog Rescue\u003c/a> is guaranteed to make you as happy as you make your pups. There will be 20 food trucks, 12 local pet-minded businesses, pet portraits, dog training tips, a groomer, a doggy playpen and goodie bags for everyone. Oh, and if you’re reading this list even though you don’t have a dog of your own, the Summer Paw-ty is most definitely for you — there will be adoptable pooches hanging out just waiting to win you over.\u003c/p>\n\u003cfigure id=\"attachment_13928438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-800x534.jpg\" alt=\"A white dog with scruffy fur licks the side of a beer glass.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dogs. Beer. What’s not to like? \u003ccite>(\tGetty Images/ Javier Zayas Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://berkeleyhumane.org/events/pints-for-paws/\">Pints For Paws\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 3\u003c/em>\u003cbr>\n\u003cem>Berkeley Humane, Berkeley\u003c/em>\u003c/p>\n\u003cp>Attending a beer-tasting that is also an auction might not sound like the smartest move in the world, but impulse bidding is perfectly acceptable when the proceeds are going to the \u003ca href=\"https://berkeleyhumane.org/\">Berkeley-East Bay Humane Society\u003c/a>. There will also be food trucks on hand if you need a bite to soak up all those local craft beers, wines and small-batch vodkas before the bidding starts. Expect live music, games and — of course — all of the dogs. Many, many, many dogs. And what could be better than that?\u003c/p>\n\u003cfigure id=\"attachment_13928992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928992\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1125216299-800x571.jpg\" alt=\"Three women stand on one foot, one arm stretched in the air while holding small dogs.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-2048x1461.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-1920x1369.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dog yoga (doga!) in action. \u003ccite>(K. Y. Cheng/South China Morning Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.pupplaza.org/events\">Doga at Pup Plaza\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 4, July 9\u003c/em>\u003cbr>\n\u003cem>Pup Plaza, San Jose\u003c/em>\u003c/p>\n\u003cp>Yoga: A stress-reliever and life improver. Dogs: Same! What happens when you combine the two? Only the very best things. This 60-minute class is designed to help you deepen the bond with your dog, and leave happier and more relaxed than when you arrived. The \u003ca href=\"https://www.pupplaza.org/\">Pup Plaza\u003c/a> is part of Silicon Valley Pet Project — the first dog community center in the area and a place that only wants the best for your fur babies. Something to ponder when you’re in Downward-Facing Dog.\u003c/p>\n\u003cfigure id=\"attachment_13928993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928993\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-800x533.jpg\" alt=\"A black long-haired Chihuahua tilts her head and looks up.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cutest Chihuahua in the whole damn world. \u003ccite>(Shannon Finney/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.meetup.com/chihuahuas/\">South Bay Chihuahua & Small Dog Meetup\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 10, July 8, Aug. 12\u003c/em>\u003cbr>\n\u003cem>Milpitas Dog Park, Milpitas\u003c/em>\u003c/p>\n\u003cp>Chihuahuas: Let’s face it, they’re the Donald Trump of dogs. You’re either a passionate hater or an enthusiast so fervent, you’ll get into a fight with a total stranger in the street over it. If you fall into the latter category, you should probably head to Milpitas Dog Park once a month this summer to meet up with other fellows just like you. There, your tiny, shaking babies can wag, sniff and prance around with each other while you join a crew of likeminded lovers of the microdog.\u003c/p>\n\u003cfigure id=\"attachment_13928425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-800x533.jpg\" alt=\"A smiling man wearing a San Francisco Giants jersey and hat bends down to pet a husky dog, also wearing a Giants shirt. Crowds of people stand to one side, observing.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The pre-game dog parade at Oracle Park during Dog Day, 2019. \u003ccite>(Stephen Hopson/Icon Sportswire via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mlb.com/giants/tickets/specials/dog-day\">Dog Days of Summer (With the SF Giants)\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 11\u003c/em>\u003cbr>\n\u003cem>Oracle Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>For one day and one day only, Oracle Park turns into a glorious — and fairly surreal — dog costume party. The annual Dog Days of Summer event invites Giants fans onto the warning track to parade with their pups before the game, awarding prizes to the best baseball-themed doggy outfits. Be warned that Dog Days tickets are more expensive than the average game, but try to take comfort in the fact that the experience is pretty priceless. Plus, partial proceeds benefit the very lovely people and animals of the San Francisco SPCA. This year’s Dog Days game is against the Chicago Cubs. Feel free to pretend their logo is a Newfoundland for the day…\u003c/p>\n\u003cfigure id=\"attachment_13928994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1243036505-800x533.jpg\" alt=\"A french bulldog wearing a night-shirt sits on a chair.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A French bulldog. Being awesome. As usual. \u003ccite>(MANAN VATSYAYANA/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.meetup.com/mill-valley-pug-sunday/\">Pug and Frenchie Sunday\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 18, July 16, Aug. 20\u003c/em>\u003cbr>\n\u003cem>Dog Park, Bayfront Park, Mill Valley\u003c/em>\u003c/p>\n\u003cp>Do you have a dog that snores louder than your grandpa in an armchair after a big meal? Then you probably have a pug or a French bulldog. Which means you probably can’t get enough of their tiny flat faces and beefy little bods. Well, get ready to start singing “\u003ca href=\"https://www.youtube.com/watch?v=sSlLNSWAXpo\">Somewhere (There’s a Place for Us)\u003c/a>” from \u003cem>West Side Story\u003c/em> because every month, a group of pugs and Frenchies get together in Milpitas to grunt and hop around together. Presumably, the humans by their sides can do the same thing, should the mood take them.\u003c/p>\n\u003cfigure id=\"attachment_13928436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928436\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-800x588.jpg\" alt=\"A woman holds up a small, mostly bald dog while raising her other arm triumphantly. A man and a woman stand nearby smiling and clapping.\" width=\"800\" height=\"588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-1020x750.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-1536x1130.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Chinese Crested named Miss Ellie winning the pedigree division of the Ugliest Dog Contest 2009, at the Sonoma-Marin Fairgrounds. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sonoma-marinfair.org/wp-content/uploads/2023/02/2023-WUD-Application-Packet.pdf\">World’s Ugliest Dog Contest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 23\u003c/em>\u003cbr>\n\u003cem>Sonoma-Marin Fairgrounds and Event Center, Petaluma\u003c/em>\u003c/p>\n\u003cp>Yes, yes. We know. All dogs are beautiful, yada, yada, yada. Just try and think of this as an event that embraces freak flags flying and dog tongues flopping. There are several categories for pooches to enter in addition to “Ugliest Dog,” including “People’s Choice” and “Spirit Award,” and the grand prize-winning weirdo will take home $1,500. Get ready for bug eyes, bald bodies, bizarre teeth and \u003cem>tons\u003c/em> of personality. Be advised though, pawrents, that your entry form needs to be in before June 21 if you want your little darling to be in the running.\u003c/p>\n\u003cfigure id=\"attachment_13929025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1235587049-800x512.jpg\" alt=\"A small scruffy dog wearing a life preserver stands on a surf board in the water.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049-1536x983.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yes. There are, in fact, enough dogs that know how to surf that it warrants a competition. \u003ccite>(Mindy Schauer/Digital First Media/Orange County Register via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.surfdogchampionships.com/\">World Dog Surfing Championship\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 5\u003c/em>\u003cbr>\n\u003cem>Linda Mar Beach, Pacifica\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Floofers doing human things is a winner always, but the World Dog Surfing Championship goes next-level: these puppers are doing stuff that a lot of people can’t even do! The surfing dogs are evaluated by judges on confidence level, ability to stay on their surfboard and — this isn’t a joke — tricks. Yes, actual tricks. Like surfing backwards or doing 360-degree spins mid-wave. And, as if that wasn’t enough, they’re doing all this surfing while wearing cute little wetsuits and goggles. Absurdly cute entertainment guaranteed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.nytimes.com/2006/11/27/opinion/27foer.html\">2006 op-ed for the \u003cem>New York Times\u003c/em>\u003c/a>, novelist \u003ca href=\"https://en.wikipedia.org/wiki/Jonathan_Safran_Foer\">Jonathan Safran Foer\u003c/a> pondered: “Why does watching a dog be a dog fill one with happiness? And why does it make one feel, in the best sense of the word, human?”\u003c/p>\n\u003cp>The answer to those questions is this: Who cares, man! Let’s just agree that dogs are the greatest and take every opportunity to hang out with them. Our own dogs… other people’s dogs… all of those dogs at the same time…\u003c/p>\n\u003cp>If you, like Safran Foer, feel better when there are canines around, you’re going to want to attend at least some of the following dog-centric events in the Bay Area this summer.\u003c/p>\n\u003cfigure id=\"attachment_13929073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-800x533.jpg\" alt=\"A collie wearing a conical party hat.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1392000081-scaled-e1683849520487.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Get ready to paaaawtaaaaay. \u003ccite>(Iuliia Zavalishina, iStock/ Getty Images Plus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bark-at-spark-summer-paw-ty-tickets-632984332177?aff=ebdssbdestsearch\">Bark at SPARK Summer Paw-ty\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 21\u003c/em>\u003cbr>\n\u003cem>Spark Social, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This fundraiser for \u003ca href=\"https://ilovefamilydog.org/\">Family Dog Rescue\u003c/a> is guaranteed to make you as happy as you make your pups. There will be 20 food trucks, 12 local pet-minded businesses, pet portraits, dog training tips, a groomer, a doggy playpen and goodie bags for everyone. Oh, and if you’re reading this list even though you don’t have a dog of your own, the Summer Paw-ty is most definitely for you — there will be adoptable pooches hanging out just waiting to win you over.\u003c/p>\n\u003cfigure id=\"attachment_13928438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-800x534.jpg\" alt=\"A white dog with scruffy fur licks the side of a beer glass.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1210146717-scaled-e1682636289583.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dogs. Beer. What’s not to like? \u003ccite>(\tGetty Images/ Javier Zayas Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://berkeleyhumane.org/events/pints-for-paws/\">Pints For Paws\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 3\u003c/em>\u003cbr>\n\u003cem>Berkeley Humane, Berkeley\u003c/em>\u003c/p>\n\u003cp>Attending a beer-tasting that is also an auction might not sound like the smartest move in the world, but impulse bidding is perfectly acceptable when the proceeds are going to the \u003ca href=\"https://berkeleyhumane.org/\">Berkeley-East Bay Humane Society\u003c/a>. There will also be food trucks on hand if you need a bite to soak up all those local craft beers, wines and small-batch vodkas before the bidding starts. Expect live music, games and — of course — all of the dogs. Many, many, many dogs. And what could be better than that?\u003c/p>\n\u003cfigure id=\"attachment_13928992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928992\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1125216299-800x571.jpg\" alt=\"Three women stand on one foot, one arm stretched in the air while holding small dogs.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-2048x1461.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1125216299-1920x1369.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dog yoga (doga!) in action. \u003ccite>(K. Y. Cheng/South China Morning Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.pupplaza.org/events\">Doga at Pup Plaza\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 4, July 9\u003c/em>\u003cbr>\n\u003cem>Pup Plaza, San Jose\u003c/em>\u003c/p>\n\u003cp>Yoga: A stress-reliever and life improver. Dogs: Same! What happens when you combine the two? Only the very best things. This 60-minute class is designed to help you deepen the bond with your dog, and leave happier and more relaxed than when you arrived. The \u003ca href=\"https://www.pupplaza.org/\">Pup Plaza\u003c/a> is part of Silicon Valley Pet Project — the first dog community center in the area and a place that only wants the best for your fur babies. Something to ponder when you’re in Downward-Facing Dog.\u003c/p>\n\u003cfigure id=\"attachment_13928993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928993\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-800x533.jpg\" alt=\"A black long-haired Chihuahua tilts her head and looks up.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1488437182-scaled-e1683849225956.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cutest Chihuahua in the whole damn world. \u003ccite>(Shannon Finney/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.meetup.com/chihuahuas/\">South Bay Chihuahua & Small Dog Meetup\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 10, July 8, Aug. 12\u003c/em>\u003cbr>\n\u003cem>Milpitas Dog Park, Milpitas\u003c/em>\u003c/p>\n\u003cp>Chihuahuas: Let’s face it, they’re the Donald Trump of dogs. You’re either a passionate hater or an enthusiast so fervent, you’ll get into a fight with a total stranger in the street over it. If you fall into the latter category, you should probably head to Milpitas Dog Park once a month this summer to meet up with other fellows just like you. There, your tiny, shaking babies can wag, sniff and prance around with each other while you join a crew of likeminded lovers of the microdog.\u003c/p>\n\u003cfigure id=\"attachment_13928425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-800x533.jpg\" alt=\"A smiling man wearing a San Francisco Giants jersey and hat bends down to pet a husky dog, also wearing a Giants shirt. Crowds of people stand to one side, observing.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1154512100-scaled-e1682632486754.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The pre-game dog parade at Oracle Park during Dog Day, 2019. \u003ccite>(Stephen Hopson/Icon Sportswire via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mlb.com/giants/tickets/specials/dog-day\">Dog Days of Summer (With the SF Giants)\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 11\u003c/em>\u003cbr>\n\u003cem>Oracle Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>For one day and one day only, Oracle Park turns into a glorious — and fairly surreal — dog costume party. The annual Dog Days of Summer event invites Giants fans onto the warning track to parade with their pups before the game, awarding prizes to the best baseball-themed doggy outfits. Be warned that Dog Days tickets are more expensive than the average game, but try to take comfort in the fact that the experience is pretty priceless. Plus, partial proceeds benefit the very lovely people and animals of the San Francisco SPCA. This year’s Dog Days game is against the Chicago Cubs. Feel free to pretend their logo is a Newfoundland for the day…\u003c/p>\n\u003cfigure id=\"attachment_13928994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1243036505-800x533.jpg\" alt=\"A french bulldog wearing a night-shirt sits on a chair.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1243036505-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A French bulldog. Being awesome. As usual. \u003ccite>(MANAN VATSYAYANA/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.meetup.com/mill-valley-pug-sunday/\">Pug and Frenchie Sunday\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 18, July 16, Aug. 20\u003c/em>\u003cbr>\n\u003cem>Dog Park, Bayfront Park, Mill Valley\u003c/em>\u003c/p>\n\u003cp>Do you have a dog that snores louder than your grandpa in an armchair after a big meal? Then you probably have a pug or a French bulldog. Which means you probably can’t get enough of their tiny flat faces and beefy little bods. Well, get ready to start singing “\u003ca href=\"https://www.youtube.com/watch?v=sSlLNSWAXpo\">Somewhere (There’s a Place for Us)\u003c/a>” from \u003cem>West Side Story\u003c/em> because every month, a group of pugs and Frenchies get together in Milpitas to grunt and hop around together. Presumably, the humans by their sides can do the same thing, should the mood take them.\u003c/p>\n\u003cfigure id=\"attachment_13928436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928436\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-800x588.jpg\" alt=\"A woman holds up a small, mostly bald dog while raising her other arm triumphantly. A man and a woman stand nearby smiling and clapping.\" width=\"800\" height=\"588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-1020x750.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987-1536x1130.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-88710759-scaled-e1682635512987.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Chinese Crested named Miss Ellie winning the pedigree division of the Ugliest Dog Contest 2009, at the Sonoma-Marin Fairgrounds. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sonoma-marinfair.org/wp-content/uploads/2023/02/2023-WUD-Application-Packet.pdf\">World’s Ugliest Dog Contest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 23\u003c/em>\u003cbr>\n\u003cem>Sonoma-Marin Fairgrounds and Event Center, Petaluma\u003c/em>\u003c/p>\n\u003cp>Yes, yes. We know. All dogs are beautiful, yada, yada, yada. Just try and think of this as an event that embraces freak flags flying and dog tongues flopping. There are several categories for pooches to enter in addition to “Ugliest Dog,” including “People’s Choice” and “Spirit Award,” and the grand prize-winning weirdo will take home $1,500. Get ready for bug eyes, bald bodies, bizarre teeth and \u003cem>tons\u003c/em> of personality. Be advised though, pawrents, that your entry form needs to be in before June 21 if you want your little darling to be in the running.\u003c/p>\n\u003cfigure id=\"attachment_13929025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1235587049-800x512.jpg\" alt=\"A small scruffy dog wearing a life preserver stands on a surf board in the water.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049-1536x983.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1235587049.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yes. There are, in fact, enough dogs that know how to surf that it warrants a competition. \u003ccite>(Mindy Schauer/Digital First Media/Orange County Register via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.surfdogchampionships.com/\">World Dog Surfing Championship\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 5\u003c/em>\u003cbr>\n\u003cem>Linda Mar Beach, Pacifica\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Floofers doing human things is a winner always, but the World Dog Surfing Championship goes next-level: these puppers are doing stuff that a lot of people can’t even do! The surfing dogs are evaluated by judges on confidence level, ability to stay on their surfboard and — this isn’t a joke — tricks. Yes, actual tricks. Like surfing backwards or doing 360-degree spins mid-wave. And, as if that wasn’t enough, they’re doing all this surfing while wearing cute little wetsuits and goggles. Absurdly cute entertainment guaranteed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "annie-grinnell-lawrencium-four-new-falcon-chicks-alcatraz",
"title": "Annie Is a Grandparent! Four New Falcon Chicks Arrive on Alcatraz",
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"content": "\u003cp>Carrie Fisher once said, “There should be a term for what celebrity children go through, which is narcissistic deprivation. The family is organized around the parents or parent and not around the children.”\u003c/p>\n\u003cp>The offspring of the Bay Area’s most beloved falcon, Annie, can probably relate. All year round, Annie is showered with attention, memes and livestreams. She even has \u003ca href=\"https://www.customink.com/fundraising/campanile-falcons23\">her own merch\u003c/a>, for crying out loud! For Bay Area falcon fans, Annie’s every move — \u003ca href=\"https://www.kqed.org/arts/13907837/peregrine-falcon-annie-grinnel-berkeley-campanile-birdwatching\">her newest love interest\u003c/a>, her latest mid-air fight, \u003ca href=\"https://www.kqed.org/arts/13909929/uc-berkeley-peregrine-falcons-campanile-annie-grinnell-not-dead\">that time she went on the lam\u003c/a> for a week — isn’t hard to track. But what of her many, many babies?\u003c/p>\n\u003cp>[aside postid='arts_13927659']For the most part, Annie’s 15 kids have dropped out of the public eye as soon as they’ve left the UC Berkeley campanile. Worse, we often only hear about them when tragedy strikes. Like when 2017 chick Lux died after flying into a window, or when Lindsay, one of the two 2022 babies was killed by a hawk, two months after fledging. (A lot of us still haven’t recovered from that one, especially after losing Grinnell, her father, just months before.)\u003c/p>\n\u003cp>There are always, of course, exceptions to the rule. These are the nepo babies, the kids who are going to outshine even their famous parents. One of Annie and Grinnell’s 2020 babies, Sequoia, has been hanging around in San Jose trying to make a name for himself. But it’s \u003ca href=\"https://www.facebook.com/UCBerkeley/posts/pfbid06aiu8A635EhPpztrRr948F6ksrrkXZYw6SfPvSxDfjtPmeMd6rS7MRQ9WrdkG7Qrl\">Lawrencium\u003c/a>, one of Annie and Grinnell’s 2018 chicks, who’s really starting to follow in her mom’s famous footsteps.\u003c/p>\n\u003cfigure id=\"attachment_13927789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lawrencium, being majestic AF. \u003ccite>(NPS/ Morgan Barnes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawrencium and her boyfriend, you see, are the first peregrine falcons to ever nest on Alcatraz. They moved onto The Rock in 2020 and quickly embarked on making a sex tape. Okay, not quite, but they did fornicate on top of the water tower in front of God and everyone. (By “everyone,” I mostly mean the wonderful rangers of the \u003ca href=\"https://www.facebook.com/GoldenGateNPS/\">Golden Gate National Recreation Area\u003c/a> who diligently shared the news.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This act — this one right here — produced two chicks that year.\u003c/p>\n\u003cfigure id=\"attachment_13927783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927783\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-800x601.png\" alt=\"Two peregrine falcons mating on the lip of a white and red water tower.\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-800x601.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-1020x766.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-768x577.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-1536x1153.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-2048x1538.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-1920x1442.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is it. This is the sex tape. \u003ccite>(NPS/ Tori Seher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, however, Lawrencium has really outdone herself. The new mom just successfully hatched all four of her eggs, producing a tiny band of fluffy-butted chicks who, thus far, are doing a great job of wobbling around their nest like a crew of drunk old men at closing time. It’s an especially impressive brood given the storms that battered the island for much of the falcons’ incubation period.\u003c/p>\n\u003cp>The National Park Service was kind enough to send us footage of the first two chicks, awaiting the arrival of their siblings:\u003c/p>\n\u003cp>https://vimeo.com/817396034\u003c/p>\n\u003cp>Grandpa Grinnell would be so proud.\u003c/p>\n\u003cp>Finally, for a sneak peek of what these precious little bundles are going to look like in a month or so, here’s what one of Lawrencium’s 2022 fledglings looked like.\u003c/p>\n\u003cfigure id=\"attachment_13927792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-800x1200.jpg\" alt=\"A young peregrine falcon squawks, beak open, while directly looking into the camera.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-1920x2879.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Annie’s grandbabies, last year, being all tough. \u003ccite>(NPS/ Morgan Barnes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>They grow up so fast.\u003c/p>\n\n",
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"excerpt": "Annie and Lou aren’t the only celebrity falcons in the Bay. One of Annie’s 2018 chicks with Grinnell is having her own babies on Alcatraz.",
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"title": "Four New Falcons Chicks on Alcatraz are Part of a Famous Family | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carrie Fisher once said, “There should be a term for what celebrity children go through, which is narcissistic deprivation. The family is organized around the parents or parent and not around the children.”\u003c/p>\n\u003cp>The offspring of the Bay Area’s most beloved falcon, Annie, can probably relate. All year round, Annie is showered with attention, memes and livestreams. She even has \u003ca href=\"https://www.customink.com/fundraising/campanile-falcons23\">her own merch\u003c/a>, for crying out loud! For Bay Area falcon fans, Annie’s every move — \u003ca href=\"https://www.kqed.org/arts/13907837/peregrine-falcon-annie-grinnel-berkeley-campanile-birdwatching\">her newest love interest\u003c/a>, her latest mid-air fight, \u003ca href=\"https://www.kqed.org/arts/13909929/uc-berkeley-peregrine-falcons-campanile-annie-grinnell-not-dead\">that time she went on the lam\u003c/a> for a week — isn’t hard to track. But what of her many, many babies?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the most part, Annie’s 15 kids have dropped out of the public eye as soon as they’ve left the UC Berkeley campanile. Worse, we often only hear about them when tragedy strikes. Like when 2017 chick Lux died after flying into a window, or when Lindsay, one of the two 2022 babies was killed by a hawk, two months after fledging. (A lot of us still haven’t recovered from that one, especially after losing Grinnell, her father, just months before.)\u003c/p>\n\u003cp>There are always, of course, exceptions to the rule. These are the nepo babies, the kids who are going to outshine even their famous parents. One of Annie and Grinnell’s 2020 babies, Sequoia, has been hanging around in San Jose trying to make a name for himself. But it’s \u003ca href=\"https://www.facebook.com/UCBerkeley/posts/pfbid06aiu8A635EhPpztrRr948F6ksrrkXZYw6SfPvSxDfjtPmeMd6rS7MRQ9WrdkG7Qrl\">Lawrencium\u003c/a>, one of Annie and Grinnell’s 2018 chicks, who’s really starting to follow in her mom’s famous footsteps.\u003c/p>\n\u003cfigure id=\"attachment_13927789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-in-flight-_-credit-to-NPS-Morgan-Barnes.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lawrencium, being majestic AF. \u003ccite>(NPS/ Morgan Barnes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawrencium and her boyfriend, you see, are the first peregrine falcons to ever nest on Alcatraz. They moved onto The Rock in 2020 and quickly embarked on making a sex tape. Okay, not quite, but they did fornicate on top of the water tower in front of God and everyone. (By “everyone,” I mostly mean the wonderful rangers of the \u003ca href=\"https://www.facebook.com/GoldenGateNPS/\">Golden Gate National Recreation Area\u003c/a> who diligently shared the news.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This act — this one right here — produced two chicks that year.\u003c/p>\n\u003cfigure id=\"attachment_13927783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927783\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-800x601.png\" alt=\"Two peregrine falcons mating on the lip of a white and red water tower.\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-800x601.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-1020x766.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-768x577.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-1536x1153.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-2048x1538.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-4.33.19-PM-1920x1442.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is it. This is the sex tape. \u003ccite>(NPS/ Tori Seher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, however, Lawrencium has really outdone herself. The new mom just successfully hatched all four of her eggs, producing a tiny band of fluffy-butted chicks who, thus far, are doing a great job of wobbling around their nest like a crew of drunk old men at closing time. It’s an especially impressive brood given the storms that battered the island for much of the falcons’ incubation period.\u003c/p>\n\u003cp>The National Park Service was kind enough to send us footage of the first two chicks, awaiting the arrival of their siblings:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grandpa Grinnell would be so proud.\u003c/p>\n\u003cp>Finally, for a sneak peek of what these precious little bundles are going to look like in a month or so, here’s what one of Lawrencium’s 2022 fledglings looked like.\u003c/p>\n\u003cfigure id=\"attachment_13927792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-800x1200.jpg\" alt=\"A young peregrine falcon squawks, beak open, while directly looking into the camera.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-1920x2879.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Peregrine-fledgling-credit-to-NPS-Morgan-Barnes-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Annie’s grandbabies, last year, being all tough. \u003ccite>(NPS/ Morgan Barnes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>They grow up so fast.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "uc-berkeley-cal-falcons-campanile-annie-lou-chicks-hatch-day",
"title": "Watching Cal Falcons Sit on Eggs at BAMPFA’s Very Wholesome ‘Hatch Day’",
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"headTitle": "Watching Cal Falcons Sit on Eggs at BAMPFA’s Very Wholesome ‘Hatch Day’ | KQED",
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"content": "\u003cp>It’s 10:30 on a Tuesday morning and a crowd is forming at the back of the Berkeley Art Museum and Pacific Film Archive’s shiny building, a stone’s throw from the UC Berkeley campus. There, on the museum’s giant video screen, is live footage of the most beloved falcons in Northern California.\u003c/p>\n\u003cp>Annie and Lou are on top of the campus campanile, taking turns to incubate three unhatched eggs and sporadically feed their first chick, who emerged pink and chirping from beneath an impressively nonchalant Annie yesterday. (This is the famous falcon mom’s seventh clutch of chicks — she’s a pro at this point.)\u003c/p>\n\u003cfigure id=\"attachment_13927665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-800x525.jpg\" alt=\"A large screen projects an image of a nesting falcon staring at the camera. People gather in front of the screen, one is holding a bicycle.\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds begin to arrive at BAMPFA on Cal Falcons’ ‘Hatch Day,’ April 11, 2023. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the second time that the Cal Falcons crew — a team of scientists and volunteers who monitor, document and study the falcons, as well as maintain the \u003ca href=\"https://www.youtube.com/@calfalcons\">YouTube livestream\u003c/a> — have held a “Hatch Day” event at BAMPFA. The first occurred back in 2019 when Annie and her longtime partner Grinnell were first finding fame in the Bay Area. Hatch Day events were put on hold when the COVID pandemic hit.\u003c/p>\n\u003cp>[aside postid='arts_13907837']“We’re delighted to be back,” A.J. Fox, BAMPFA’s media relations manager, tells KQED Arts. “These falcons are local celebrities. Everyone in Berkeley loves them and we love to share the joy of their new arrivals with people.\u003c/p>\n\u003cp>“Everyone is watching with great attention both outside the building \u003cem>and\u003c/em> inside the building,” Fox continues, of BAMPFA’s staff. “We all had some squeals of delight when the first chick hatched yesterday.”\u003c/p>\n\u003cfigure id=\"attachment_13927666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/gathered-crowd-no-screen-800x549.jpg\" alt=\"A crowd of people stand and sit in lawn chairs on a sunny street corner.\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-2048x1406.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-1920x1318.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bird fans gathered on Tuesday afternoon to watch a livestream of the UC Berkeley falcons, currently nesting on the campanile. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The people gathered at BAMPFA today are not casual observers. They are falcon fans who first got invested in Annie and her offspring during her longterm partnership with her original mate, Grinnell. Grinnell was hit by a car and killed in April 2022, shortly after Annie had laid that season’s clutch of eggs. Two chicks were born thanks to falcon step-dad Alden, who showed up at the 11th hour to support Annie through the incubation process. Annie’s latest partner, Lou, moved onto the campanile with her after Alden disappeared in November.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Cal Falcons team first discovered Annie and Grinnell nesting on the campanile in 2017. In the years since, thanks to \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfW9DjiDnqLAlqaHCo12ygDy_KP1k9gHTO86wTDdLJKRD9ogg/viewform\">meme competitions\u003c/a>, public votes to name Annie’s partners and offspring and, of course, the livecam, the fandom has exploded. At BAMPFA today, many people are proudly sporting \u003ca href=\"https://www.customink.com/fundraising/campanile-falcons23\">UC Berkeley Falcons T-shirts\u003c/a> — new designs are released annually to raise money for education, outreach, streaming and research about the falcons.\u003c/p>\n\u003cfigure id=\"attachment_13927667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-800x1067.jpg\" alt=\"Homemade cutout artwork of a falcon, placed in long grass.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falcon fan art brought to Cal Falcon’s ‘Hatch Day’ at BAMPFA, April 11, 2023. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kim Houghton, a graduate student at UC Berkeley, admits that she is “obsessed” with all things Annie. “I always have the webcams up at work and on my second monitor at home.”\u003c/p>\n\u003cp>As Lou arrives on the big screen with a dead bird to feed the new chick, I mention how funny it is that we all care so much about the falcons that we seem to have forgotten about the smaller birds that they feast on. “Oh, I’ve gotten to the point where I call the campus birds ‘falcon food,’” Houghton laughs. “Like, ‘Oh look. A robin that Lou hasn’t found yet.’”\u003c/p>\n\u003cfigure id=\"attachment_13927668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-800x600.jpg\" alt=\"A young woman and a woman in her fifties stand behind a table on a street corner. The table is covered with books about birds and coloring sheets for children.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley Public Library employees Kelsey Ocker (L) and Armin Arethna (R) hand out information for kids and adults alike at Cal Falcons’ Hatch Day event at BAMPFA. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby is Bridget Ahern, a program manager at Google, who volunteers with Cal Falcons as “an enthusiastic photographer and observer.”\u003c/p>\n\u003cp>[aside postid='arts_13912098']“I started photographing the falcons in June 2020,” Ahern tells KQED Arts. “I was walking through the campus one day and I heard what I thought were pterodactyls in the trees, so I ran home and grabbed my camera. Within a half-hour, I had my first photos of the falcons. I had been a wildlife photographer for a while, just as a hobby. But the falcons have absolutely spurred me to up my skills, to up my camera equipment, to learn everything I can about how to photograph.”\u003c/p>\n\u003cp>Ahern says this is her favorite time of year to watch the falcons. “Watching the adults interact with the chicks; watching the chicks fly for the first time. I’m an observer of birds, but I think Annie is pretty special. She’s an avid defender. It is scary and when I see her chasing off interlopers, she never ceases to amaze me.”\u003c/p>\n\u003cfigure id=\"attachment_13927669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/20230411_160408-800x1172.jpg\" alt=\"A senior woman and a middle-aged man stand near a grassy area on a street corner. They are both wearing t-shirts featuring falcons.\" width=\"800\" height=\"1172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-800x1172.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-1020x1494.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-768x1125.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-1049x1536.jpg 1049w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-1398x2048.jpg 1398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-1920x2812.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-scaled.jpg 1748w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cal Falcons co-founder Mary Malec (L) hangs out with a Cal Falcons fan, Blake Edgar (R) outside BAMPFA. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also present at BAMPFA today is Mary Malec, one of the co-founders of Cal Falcons. Malec spent her career working on human clinical trials at UCSF, but helped set up Cal Falcons in 2017 after she and two associates (Doug Bell and Allen Fish) noticed Annie and Grinnell nesting on the campanile in a way that meant they were losing eggs. After acquiring the appropriate permit, the trio provided Annie and Grinnell with a nesting tray filled with gravel. Annie has been laying her eggs there ever since.\u003c/p>\n\u003cp>I ask Malec why she thinks the falcons are so popular.\u003c/p>\n\u003cp>[aside postid='arts_13909929']“They’re phenomenally good parents. They’re fun to watch,” she says. “[And] the COVID pandemic, I think made a huge difference. People were isolating themselves and we were there — a lot of people have mentioned that watching the falcons was comforting.”\u003c/p>\n\u003cp>By the end of Hatch Day, the title of the event is feeling like a bit of a misnomer — the three remaining eggs are still intact. I express concern to Malec about the length of time that the second egg, which showed signs of “\u003ca href=\"https://calfalcons.berkeley.edu/glossary/\">pipping\u003c/a>” shortly after the first chick hatched, is taking. Her response is measured, though she admits to “always being worried” about the falcons.\u003c/p>\n\u003cp>Apparently 24 hours is “not outside the range [for an egg to hatch], but it is a little long,” Malec says. “We still have two others! I’m not giving up on any of them yet.”\u003c/p>\n\u003cp>Expect updates on the Cal Falcons and their chicks as we get them.\u003c/p>\n\u003cp>\u003cstrong>Update April 12, 2023:\u003c/strong> An extremely cute second chick was born overnight. (Phew!) Lou made the big reveal this morning:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ljpI4Im4NI\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Update April 13, 2023: \u003c/strong>Just when we thought it might be time to give up on the other eggs, a third chick has hatched! I repeat: A third chick has hatched!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://twitter.com/CalFalconCam/status/1646593609800749056\u003c/p>\n\n",
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"title": "Cal Falcons’ ‘Hatch Day’ at BAMPFA was Good, Wholesome Fun | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 10:30 on a Tuesday morning and a crowd is forming at the back of the Berkeley Art Museum and Pacific Film Archive’s shiny building, a stone’s throw from the UC Berkeley campus. There, on the museum’s giant video screen, is live footage of the most beloved falcons in Northern California.\u003c/p>\n\u003cp>Annie and Lou are on top of the campus campanile, taking turns to incubate three unhatched eggs and sporadically feed their first chick, who emerged pink and chirping from beneath an impressively nonchalant Annie yesterday. (This is the famous falcon mom’s seventh clutch of chicks — she’s a pro at this point.)\u003c/p>\n\u003cfigure id=\"attachment_13927665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-800x525.jpg\" alt=\"A large screen projects an image of a nesting falcon staring at the camera. People gather in front of the screen, one is holding a bicycle.\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Bampfa-screen-scaled-e1681255761164.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds begin to arrive at BAMPFA on Cal Falcons’ ‘Hatch Day,’ April 11, 2023. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the second time that the Cal Falcons crew — a team of scientists and volunteers who monitor, document and study the falcons, as well as maintain the \u003ca href=\"https://www.youtube.com/@calfalcons\">YouTube livestream\u003c/a> — have held a “Hatch Day” event at BAMPFA. The first occurred back in 2019 when Annie and her longtime partner Grinnell were first finding fame in the Bay Area. Hatch Day events were put on hold when the COVID pandemic hit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We’re delighted to be back,” A.J. Fox, BAMPFA’s media relations manager, tells KQED Arts. “These falcons are local celebrities. Everyone in Berkeley loves them and we love to share the joy of their new arrivals with people.\u003c/p>\n\u003cp>“Everyone is watching with great attention both outside the building \u003cem>and\u003c/em> inside the building,” Fox continues, of BAMPFA’s staff. “We all had some squeals of delight when the first chick hatched yesterday.”\u003c/p>\n\u003cfigure id=\"attachment_13927666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/gathered-crowd-no-screen-800x549.jpg\" alt=\"A crowd of people stand and sit in lawn chairs on a sunny street corner.\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-2048x1406.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/gathered-crowd-no-screen-1920x1318.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bird fans gathered on Tuesday afternoon to watch a livestream of the UC Berkeley falcons, currently nesting on the campanile. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The people gathered at BAMPFA today are not casual observers. They are falcon fans who first got invested in Annie and her offspring during her longterm partnership with her original mate, Grinnell. Grinnell was hit by a car and killed in April 2022, shortly after Annie had laid that season’s clutch of eggs. Two chicks were born thanks to falcon step-dad Alden, who showed up at the 11th hour to support Annie through the incubation process. Annie’s latest partner, Lou, moved onto the campanile with her after Alden disappeared in November.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Cal Falcons team first discovered Annie and Grinnell nesting on the campanile in 2017. In the years since, thanks to \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfW9DjiDnqLAlqaHCo12ygDy_KP1k9gHTO86wTDdLJKRD9ogg/viewform\">meme competitions\u003c/a>, public votes to name Annie’s partners and offspring and, of course, the livecam, the fandom has exploded. At BAMPFA today, many people are proudly sporting \u003ca href=\"https://www.customink.com/fundraising/campanile-falcons23\">UC Berkeley Falcons T-shirts\u003c/a> — new designs are released annually to raise money for education, outreach, streaming and research about the falcons.\u003c/p>\n\u003cfigure id=\"attachment_13927667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-800x1067.jpg\" alt=\"Homemade cutout artwork of a falcon, placed in long grass.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/falcon-art-scaled-e1681253578325.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falcon fan art brought to Cal Falcon’s ‘Hatch Day’ at BAMPFA, April 11, 2023. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kim Houghton, a graduate student at UC Berkeley, admits that she is “obsessed” with all things Annie. “I always have the webcams up at work and on my second monitor at home.”\u003c/p>\n\u003cp>As Lou arrives on the big screen with a dead bird to feed the new chick, I mention how funny it is that we all care so much about the falcons that we seem to have forgotten about the smaller birds that they feast on. “Oh, I’ve gotten to the point where I call the campus birds ‘falcon food,’” Houghton laughs. “Like, ‘Oh look. A robin that Lou hasn’t found yet.’”\u003c/p>\n\u003cfigure id=\"attachment_13927668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-800x600.jpg\" alt=\"A young woman and a woman in her fifties stand behind a table on a street corner. The table is covered with books about birds and coloring sheets for children.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/library-folks-scaled-e1681254032404.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley Public Library employees Kelsey Ocker (L) and Armin Arethna (R) hand out information for kids and adults alike at Cal Falcons’ Hatch Day event at BAMPFA. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby is Bridget Ahern, a program manager at Google, who volunteers with Cal Falcons as “an enthusiastic photographer and observer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I started photographing the falcons in June 2020,” Ahern tells KQED Arts. “I was walking through the campus one day and I heard what I thought were pterodactyls in the trees, so I ran home and grabbed my camera. Within a half-hour, I had my first photos of the falcons. I had been a wildlife photographer for a while, just as a hobby. But the falcons have absolutely spurred me to up my skills, to up my camera equipment, to learn everything I can about how to photograph.”\u003c/p>\n\u003cp>Ahern says this is her favorite time of year to watch the falcons. “Watching the adults interact with the chicks; watching the chicks fly for the first time. I’m an observer of birds, but I think Annie is pretty special. She’s an avid defender. It is scary and when I see her chasing off interlopers, she never ceases to amaze me.”\u003c/p>\n\u003cfigure id=\"attachment_13927669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/20230411_160408-800x1172.jpg\" alt=\"A senior woman and a middle-aged man stand near a grassy area on a street corner. They are both wearing t-shirts featuring falcons.\" width=\"800\" height=\"1172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-800x1172.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-1020x1494.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-768x1125.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-1049x1536.jpg 1049w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-1398x2048.jpg 1398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-1920x2812.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20230411_160408-scaled.jpg 1748w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cal Falcons co-founder Mary Malec (L) hangs out with a Cal Falcons fan, Blake Edgar (R) outside BAMPFA. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also present at BAMPFA today is Mary Malec, one of the co-founders of Cal Falcons. Malec spent her career working on human clinical trials at UCSF, but helped set up Cal Falcons in 2017 after she and two associates (Doug Bell and Allen Fish) noticed Annie and Grinnell nesting on the campanile in a way that meant they were losing eggs. After acquiring the appropriate permit, the trio provided Annie and Grinnell with a nesting tray filled with gravel. Annie has been laying her eggs there ever since.\u003c/p>\n\u003cp>I ask Malec why she thinks the falcons are so popular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“They’re phenomenally good parents. They’re fun to watch,” she says. “[And] the COVID pandemic, I think made a huge difference. People were isolating themselves and we were there — a lot of people have mentioned that watching the falcons was comforting.”\u003c/p>\n\u003cp>By the end of Hatch Day, the title of the event is feeling like a bit of a misnomer — the three remaining eggs are still intact. I express concern to Malec about the length of time that the second egg, which showed signs of “\u003ca href=\"https://calfalcons.berkeley.edu/glossary/\">pipping\u003c/a>” shortly after the first chick hatched, is taking. Her response is measured, though she admits to “always being worried” about the falcons.\u003c/p>\n\u003cp>Apparently 24 hours is “not outside the range [for an egg to hatch], but it is a little long,” Malec says. “We still have two others! I’m not giving up on any of them yet.”\u003c/p>\n\u003cp>Expect updates on the Cal Falcons and their chicks as we get them.\u003c/p>\n\u003cp>\u003cstrong>Update April 12, 2023:\u003c/strong> An extremely cute second chick was born overnight. (Phew!) Lou made the big reveal this morning:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5ljpI4Im4NI'\n title='//www.youtube.com/embed/5ljpI4Im4NI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Update April 13, 2023: \u003c/strong>Just when we thought it might be time to give up on the other eggs, a third chick has hatched! I repeat: A third chick has hatched!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Flint’s Barbecue Reopens for a One-Day Pop-up in Berkeley",
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"content": "\u003cp>Most of the time, no one really remembers a restaurant 10 or 20 years after it closes. \u003ca href=\"https://www.instagram.com/flintsbarbecue/\">Flint’s Barbecue\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13894423/flints-an-icon-of-oakland-barbecue-plots-return-to-original-location\">a Bay Area legend\u003c/a> in the art of finger-licking sauce and slow-smoked meats, is the exception that proves the rule: Even though the restaurant’s heyday was back in the 1970s and ’80s, old-timers in Oakland will \u003ci>still\u003c/i> talk your head off about that ’cue to this very day.\u003c/p>\n\u003cp>That legacy is why folks were so excited when Crystal Martin, the granddaughter of Flint’s founder Willie Flintroy, \u003ca href=\"https://www.kqed.org/arts/13894423/flints-an-icon-of-oakland-barbecue-plots-return-to-original-location\">revived the family business\u003c/a> back in 2019, albeit mostly in the form of occasional pop-ups. And it’s why each of those pop-ups has been a sold-out, line-around-the-block affair.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13894423,arts_13915387']\u003c/span>Mark April 30 on your calendar, then, if you’re a hardcore Flint’s head — or if you just want to see what your OG uncle from around the block has been making such a fuss about. That’s when Flint’s will hold its spring pop-up event in Berkeley. It’ll be the first time its barbecue has been available for purchase by the general public in the past seven months.\u003c/p>\n\u003cp>In fact, Martin says she’s thinking about limiting the pop-up to a once-a-year tradition. These days, most of her business comes from catering and private events, and she doesn’t want the pop-ups to detract from her search for a more permanent brick-and-mortar home for Flint’s.\u003c/p>\n\u003cfigure id=\"attachment_13896599\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Image-from-iOS-31.jpg\" alt=\"Crystal Martin of Flint's Barbecue at DeFremery Park in West Oakland.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Crystal Martin of Flint’s Barbecue. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That search has mostly been a disappointment. Martin’s original plan, to open in the original West Oakland Flint’s location on San Pablo Avenue, fell through. Then, the restaurant had a short-lived stint at a ghost kitchen facility in North Oakland. Apart from that, she’s looked at a string of locations that are way too expensive for her and her sisters to afford. “I’m beginning to get discouraged,” Martin says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s reached the point now where Martin has resigned herself to the likelihood that if Flint’s reopens, it’ll have to be far outside of Oakland. The city of Concord has reached out to her about relocating Flint’s to there. The city of Fairfield has reached out. Thus far, however, Martin says she hasn’t had any offer of assistance from the city of Oakland or any of its local community organizations.\u003c/p>\n\u003cp>“I’m surprised because everybody loves Flint’s so much — but I haven’t heard from any of the higher-ups,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13894446\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/FlintSlinks.Crop_.jpg\" alt=\"Two trays full of Flint's house-made links.\" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/FlintSlinks.Crop_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/FlintSlinks.Crop_-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/FlintSlinks.Crop_-768x620.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coarse-ground links are one of Flint’s signature items. \u003ccite>(Flint's Barbecue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The April 30 pop-up will be held at the barbecue spot’s current commercial kitchen location on Shattuck Avenue. Each $42.50 plate will come with ribs, chicken, links, a separate plate of sides and a drink. The new downtown Berkeley kitchen doesn’t have any place for people to dine in, but Martin says she’s had customers walk their food over to the UC Berkeley campus to enjoy a picnic-style barbecue feast.\u003c/p>\n\u003cp>Customers looking to stock up on the famous Flint’s barbecue sauce will have to be patient. Martin says she usually has a separate sauce pop-up just before the winter holidays.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/flintsbarbecue/\">\u003ci>Flint’s Barbecue\u003c/i>\u003c/a>\u003ci> will pop up at 2428 Shattuck Ave. in Berkeley on Sun., April 30, 1–5 p.m. Customers must \u003c/i>\u003ca href=\"https://flintsbarbecuepopups.simpletix.com/\">\u003ci>buy tickets in advance\u003c/i>\u003c/a>\u003ci>, with pickup times available at 1, 2, 3 and 4 p.m. Ticket sales end on April 16.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Mark April 30 on your calendar, then, if you’re a hardcore Flint’s head — or if you just want to see what your OG uncle from around the block has been making such a fuss about. That’s when Flint’s will hold its spring pop-up event in Berkeley. It’ll be the first time its barbecue has been available for purchase by the general public in the past seven months.\u003c/p>\n\u003cp>In fact, Martin says she’s thinking about limiting the pop-up to a once-a-year tradition. These days, most of her business comes from catering and private events, and she doesn’t want the pop-ups to detract from her search for a more permanent brick-and-mortar home for Flint’s.\u003c/p>\n\u003cfigure id=\"attachment_13896599\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Image-from-iOS-31.jpg\" alt=\"Crystal Martin of Flint's Barbecue at DeFremery Park in West Oakland.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-31-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Crystal Martin of Flint’s Barbecue. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That search has mostly been a disappointment. Martin’s original plan, to open in the original West Oakland Flint’s location on San Pablo Avenue, fell through. Then, the restaurant had a short-lived stint at a ghost kitchen facility in North Oakland. Apart from that, she’s looked at a string of locations that are way too expensive for her and her sisters to afford. “I’m beginning to get discouraged,” Martin says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s reached the point now where Martin has resigned herself to the likelihood that if Flint’s reopens, it’ll have to be far outside of Oakland. The city of Concord has reached out to her about relocating Flint’s to there. The city of Fairfield has reached out. Thus far, however, Martin says she hasn’t had any offer of assistance from the city of Oakland or any of its local community organizations.\u003c/p>\n\u003cp>“I’m surprised because everybody loves Flint’s so much — but I haven’t heard from any of the higher-ups,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13894446\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/FlintSlinks.Crop_.jpg\" alt=\"Two trays full of Flint's house-made links.\" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/FlintSlinks.Crop_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/FlintSlinks.Crop_-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/FlintSlinks.Crop_-768x620.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coarse-ground links are one of Flint’s signature items. \u003ccite>(Flint's Barbecue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The April 30 pop-up will be held at the barbecue spot’s current commercial kitchen location on Shattuck Avenue. Each $42.50 plate will come with ribs, chicken, links, a separate plate of sides and a drink. The new downtown Berkeley kitchen doesn’t have any place for people to dine in, but Martin says she’s had customers walk their food over to the UC Berkeley campus to enjoy a picnic-style barbecue feast.\u003c/p>\n\u003cp>Customers looking to stock up on the famous Flint’s barbecue sauce will have to be patient. Martin says she usually has a separate sauce pop-up just before the winter holidays.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/flintsbarbecue/\">\u003ci>Flint’s Barbecue\u003c/i>\u003c/a>\u003ci> will pop up at 2428 Shattuck Ave. in Berkeley on Sun., April 30, 1–5 p.m. Customers must \u003c/i>\u003ca href=\"https://flintsbarbecuepopups.simpletix.com/\">\u003ci>buy tickets in advance\u003c/i>\u003c/a>\u003ci>, with pickup times available at 1, 2, 3 and 4 p.m. Ticket sales end on April 16.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Berkeley, an Asian American Institution Prepares to Close Its Doors",
"headTitle": "In Berkeley, an Asian American Institution Prepares to Close Its Doors | KQED",
"content": "\u003cp>When I visit \u003ca href=\"https://www.asiabookcenter.com/\">Eastwind Books\u003c/a> on Berkeley’s University Avenue in late March, the store is already starting to look a little bare. \u003ca href=\"https://www.berkeleyside.org/2023/03/21/eastwind-books-berkeley-harvey-beatrice-dong-university-avenue-asian-american\">News\u003c/a> has spread that one of the nation’s first Asian American bookstores is closing after 41 years of business. Discount signs for $5 books hang on the shelves, and sections of the store are being broken down.\u003c/p>\n\u003cp>“We’re all just cleaning shelves. We’re donating a lot of the center ones to other nonprofits,” says Banoo Garcia-Afkhami, an Eastwind Books employee since 2021.\u003c/p>\n\u003cp>“A lot of people have been coming in and they’ve been wanting merch,” Garcia-Afkhami adds. “They’ve been wanting postcards, they’ve been wanting things that remind them, like with our name on it.”\u003c/p>\n\u003cp>Eastwind Books has certainly been a “merch-worthy” fixture in the community — not only as a bookstore, but as an event space, publisher and local landmark for Asian American and ethnic studies. As someone who majored in ethnic studies at UC Berkeley 20 years ago, I still have vivid memories of sourcing school books from the packed, narrow store.\u003c/p>\n\u003cfigure id=\"attachment_13927225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927225\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/image1-800x600.jpg\" alt=\"The Eastwind Books storefront in Berkeley has big, glass windows with shelves full of books.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The storefront of Eastwind Books of Berkeley on University Avenue in Berkeley on March 28. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Eastwind Books’ lease is up at the end of April, and Harvey Dong, who owns it with his wife Beatrice Dong, says they had to make some tough decisions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I guess there were a number of factors,” says Dong, who is in his 70s. “One is our age, the other is having to deal with family issues, elderly parents.”\u003c/p>\n\u003cp>Dong also cites gentrification of the neighborhood as a cause, and the costs of rising rent and sales tax.\u003c/p>\n\u003cp>“Because we’ve been at it for 27 years, we felt that it’s time to open a new chapter in our lives,” Dong says.\u003c/p>\n\u003cp>The Dongs bought the bookstore in 1996. At the time, it had already been around for 14 years, and was known for selling Chinese-language books and books on U.S.-China relations. Under their ownership, the Dongs began adding Asian American literature and ethnic studies books to the shelves.\u003c/p>\n\u003cp>“In order for a bookstore to survive, it has to be something along the lines of a community center that takes in customer suggestions, and that helps give voice to the community,” Dong says. [aside postid='arts_13926503']\u003c/p>\n\u003cp>To that end, the Dongs pulled inspiration from Beatrice’s newly completed degree in ethnic studies, and their joint experiences as longtime activists who’d worked with numerous civil rights coalitions. They had been members of the Asian American Political Alliance at UC Berkeley, and participated in the \u003ca href=\"https://crg.berkeley.edu/third-world-liberation-front-research-initiative-twlf\">Third World Liberation Front\u003c/a> protests that resulted in the establishment of an ethnic studies department at UC Berkeley in 1969.\u003c/p>\n\u003cp>In the late 1970s, they fought to save low-income senior housing at San Francisco’s \u003ca href=\"https://www.ihotel-sf.org/\">International Hotel\u003c/a>. As part of those efforts, Harvey Dong got his first taste of bookselling, co-founding the country’s first Asian American bookstore, Everybody’s Bookstore, in the International Hotel building.\u003c/p>\n\u003cp>Taking over Eastwind Books and expanding its scope was a fitting endeavor for them. “We began very small scale,” Dong says. “But over time, we networked, we met authors. We made a lot of friends and contacts in the community. And from that, the Eastwind Books of Berkeley became very well connected in the Bay Area.”\u003c/p>\n\u003cp>Brian Ang, a poet who has worked at Eastwind Books for over a decade, says the store has consistently attracted great people, “both in the staff and community members. The spirit will live on for everyone it was important for.” [aside postid='arts_13923036']\u003c/p>\n\u003cp>Dong notes that a number of Eastwind Books employees over the years have gone on to be writers and educators themselves — another part of the store’s legacy that will endure.\u003c/p>\n\u003cp>As news of the closure has spread, the Dongs have seen a lot of old friends come out of the woodwork. “I haven’t been able to come here everyday, but I do see handwritten notes of appreciation for having been here, for having this location and for being able to know them,” Dong says. “I thought those were inspiring.”\u003c/p>\n\u003cp>While the physical bookstore is officially closing, Dong plans to keep building community with books, including online sales. One project already in the pipeline: working with retired UC Berkeley ethnic studies professor Carlos Muñoz, Jr. to publish his autobiography.\u003c/p>\n\u003cp>“We do want to continue our work through events, publishing and supporting authors,” Dong says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Events are currently being organized to bid farewell to Eastwind Books, including a sendoff at UC Berkeley’s Multicultural Community Center on April 27. In the meantime, \u003ca href=\"https://www.asiabookcenter.com/\">Eastwind Books can be found online\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I visit \u003ca href=\"https://www.asiabookcenter.com/\">Eastwind Books\u003c/a> on Berkeley’s University Avenue in late March, the store is already starting to look a little bare. \u003ca href=\"https://www.berkeleyside.org/2023/03/21/eastwind-books-berkeley-harvey-beatrice-dong-university-avenue-asian-american\">News\u003c/a> has spread that one of the nation’s first Asian American bookstores is closing after 41 years of business. Discount signs for $5 books hang on the shelves, and sections of the store are being broken down.\u003c/p>\n\u003cp>“We’re all just cleaning shelves. We’re donating a lot of the center ones to other nonprofits,” says Banoo Garcia-Afkhami, an Eastwind Books employee since 2021.\u003c/p>\n\u003cp>“A lot of people have been coming in and they’ve been wanting merch,” Garcia-Afkhami adds. “They’ve been wanting postcards, they’ve been wanting things that remind them, like with our name on it.”\u003c/p>\n\u003cp>Eastwind Books has certainly been a “merch-worthy” fixture in the community — not only as a bookstore, but as an event space, publisher and local landmark for Asian American and ethnic studies. As someone who majored in ethnic studies at UC Berkeley 20 years ago, I still have vivid memories of sourcing school books from the packed, narrow store.\u003c/p>\n\u003cfigure id=\"attachment_13927225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927225\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/image1-800x600.jpg\" alt=\"The Eastwind Books storefront in Berkeley has big, glass windows with shelves full of books.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image1.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The storefront of Eastwind Books of Berkeley on University Avenue in Berkeley on March 28. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Eastwind Books’ lease is up at the end of April, and Harvey Dong, who owns it with his wife Beatrice Dong, says they had to make some tough decisions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I guess there were a number of factors,” says Dong, who is in his 70s. “One is our age, the other is having to deal with family issues, elderly parents.”\u003c/p>\n\u003cp>Dong also cites gentrification of the neighborhood as a cause, and the costs of rising rent and sales tax.\u003c/p>\n\u003cp>“Because we’ve been at it for 27 years, we felt that it’s time to open a new chapter in our lives,” Dong says.\u003c/p>\n\u003cp>The Dongs bought the bookstore in 1996. At the time, it had already been around for 14 years, and was known for selling Chinese-language books and books on U.S.-China relations. Under their ownership, the Dongs began adding Asian American literature and ethnic studies books to the shelves.\u003c/p>\n\u003cp>“In order for a bookstore to survive, it has to be something along the lines of a community center that takes in customer suggestions, and that helps give voice to the community,” Dong says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To that end, the Dongs pulled inspiration from Beatrice’s newly completed degree in ethnic studies, and their joint experiences as longtime activists who’d worked with numerous civil rights coalitions. They had been members of the Asian American Political Alliance at UC Berkeley, and participated in the \u003ca href=\"https://crg.berkeley.edu/third-world-liberation-front-research-initiative-twlf\">Third World Liberation Front\u003c/a> protests that resulted in the establishment of an ethnic studies department at UC Berkeley in 1969.\u003c/p>\n\u003cp>In the late 1970s, they fought to save low-income senior housing at San Francisco’s \u003ca href=\"https://www.ihotel-sf.org/\">International Hotel\u003c/a>. As part of those efforts, Harvey Dong got his first taste of bookselling, co-founding the country’s first Asian American bookstore, Everybody’s Bookstore, in the International Hotel building.\u003c/p>\n\u003cp>Taking over Eastwind Books and expanding its scope was a fitting endeavor for them. “We began very small scale,” Dong says. “But over time, we networked, we met authors. We made a lot of friends and contacts in the community. And from that, the Eastwind Books of Berkeley became very well connected in the Bay Area.”\u003c/p>\n\u003cp>Brian Ang, a poet who has worked at Eastwind Books for over a decade, says the store has consistently attracted great people, “both in the staff and community members. The spirit will live on for everyone it was important for.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dong notes that a number of Eastwind Books employees over the years have gone on to be writers and educators themselves — another part of the store’s legacy that will endure.\u003c/p>\n\u003cp>As news of the closure has spread, the Dongs have seen a lot of old friends come out of the woodwork. “I haven’t been able to come here everyday, but I do see handwritten notes of appreciation for having been here, for having this location and for being able to know them,” Dong says. “I thought those were inspiring.”\u003c/p>\n\u003cp>While the physical bookstore is officially closing, Dong plans to keep building community with books, including online sales. One project already in the pipeline: working with retired UC Berkeley ethnic studies professor Carlos Muñoz, Jr. to publish his autobiography.\u003c/p>\n\u003cp>“We do want to continue our work through events, publishing and supporting authors,” Dong says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Events are currently being organized to bid farewell to Eastwind Books, including a sendoff at UC Berkeley’s Multicultural Community Center on April 27. In the meantime, \u003ca href=\"https://www.asiabookcenter.com/\">Eastwind Books can be found online\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]O[/dropcap]ne afternoon in 1972, Nina Simone was getting ready to appear at Rainbow Sign, a Black cultural center that had recently opened in Berkeley. Situated at 2640 Grove St (today’s Martin Luther King Jr. Way), the venue had been set up by local concert promoter Mary Ann Pollar the year prior. After Simone and Pollar had finished eating lunch, they were on the way out of the building when they encountered two young girls in the hall, approximately 10 and 12 years old. They immediately caught Simone’s eye.\u003c/p>\n\u003cp>[aside postid='news_11901099']“Aren’t you supposed to be in school now?” Simone asked.\u003c/p>\n\u003cp>“Oh, I don’t have to go to school,” the older child said. “I’m going to be a singer like you.”\u003c/p>\n\u003cp>Simone immediately went into mentor mode. “Out of the next 100 people who walk in here, perhaps 90 can sing as well as I do,” Simone told the girl. “Do you really want to know how to become a singer?”\u003c/p>\n\u003cp>Simone took both girls aside and talked to them for 45 minutes about the importance of education, commitment and working hard towards their goals. Simone made clear that raw talent alone was not enough to make it in the world. It was a stunning — and probably life-changing — interaction for the girls, who had shown up just hoping to catch a glimpse of their hero. A couple of years later, Mary Ann Pollar relayed the story to local journalist Sandra Greenlow.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In one way,” she said, “we probably scared those children half to death. In another though, [Simone] gave them a priceless lesson.”\u003c/p>\n\u003cp>https://twitter.com/NinaSimoneMusic/status/1509542736495529991\u003c/p>\n\u003cp>For the six years it was open, Rainbow Sign was a hotspot for the kind of exchanges that Simone and those Berkeley children had that day. It was a venue that entertained audiences with some of the greatest Black artists of the time — Curtis Mayfield, Marvin Gaye, Pharoah Sanders, Oscar Brown Jr. and Simone amongst them. Writers like Maya Angelou, James Baldwin, Alex Haley, Alice Walker and Joyce Carol Thomas gave readings there. Historians like Samella Lewis and Mrs. W. E. B. DuBois gave talks. Legendary dancer Josephine Baker even appeared in the 200-seat hall.\u003c/p>\n\u003cp>[aside postid='arts_13874853']At the time, Mary Ann tried to explain what made her intimate venue so appealing to such major artists. “It’s an energy,” she said. “It floats in the air. In other places people overhear the performers. In this room, they listen. I don’t know what explains it, but here it’s more than just someone standing on a stage.”\u003c/p>\n\u003cp>Rainbow Sign was much more than a music hall too. It hosted weddings, tea parties, art shows and children’s events. It was the venue at which Shirley Chisholm announced her presidential run. It was a restaurant that served up Mary Ann’s spectacular cooking — smothered steak, fried chicken and dessert pies were all raved-about favorites. The banquet hall hosted the League of Women voters, the NAACP and the Urban League. Rainbow Sign was a place where employees recently released from San Quentin could rub shoulders with Berkeley’s first Black mayor, Warren Widener. Rainbow Sign also served as a movie theater, a venue for film and writing workshops and a floor for dance classes.\u003c/p>\n\u003cp>Mary Ann’s daughter Odette Pollar tells KQED Arts today: “I remember the feeling of Rainbow Sign. It was like walking into somebody’s home. It was very friendly and warm and welcoming. It was a big place but it was always bustling — always something going on. It was fun. Everybody was very accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13927307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png\" alt=\"A Black woman with very short hair smiles broadly, looking off in the distance. She is wearing a 1970s-era blouse with lots of ruffles.\" width=\"800\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1020x1239.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-768x933.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1265x1536.png 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2.png 1320w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Ann Pollar. \u003ccite>(Courtesy of Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]W[/dropcap]hen people remember Mary Ann now, it is most frequently through the lens of what she did with Rainbow Sign, which, sadly, closed in 1977 because of financial woes. But Mary Ann was a pillar of the Bay Area community from the time she moved here in 1951.\u003c/p>\n\u003cp>Mary Ann was interested in workers’ rights from a young age. After graduating from Chicago’s Roosevelt University with a degree in labor education, she shared her unionizing knowhow while working with the \u003ca href=\"https://nul.org/\">National Urban League\u003c/a> — a nonprofit that, to this day, works towards economic empowerment, education and civil rights for underserved communities. In the late ’60s, she volunteered with the \u003ca href=\"https://www.un.org/en/observances/un-day\">United Nations Day\u003c/a> Committee, even helping to organize a U.N. birthday party in Oakland in 1968.\u003c/p>\n\u003cp>[aside postid='arts_13887962']“I am a U.N. fan,” she noted at the time. “The whole idea of everybody putting in his two cents’ worth has a lot of meaning for me.”\u003c/p>\n\u003cp>After Rainbow Sign’s closure, Mary Ann went back to this kind of work while employed by AC Transit. For the two decades she worked there, she took part in multiple campaigns to benefit her fellow workers. She encouraged employees to buy savings bonds — a safe and reliable means to invest — and she organized a local union.\u003c/p>\n\u003cp>It was music, however, that first turned Mary Ann into a public figure. In the 1950s, after booking a show for their friend \u003ca href=\"https://www.newyorker.com/culture/culture-desk/how-odetta-revolutionized-folk-music\">Odetta\u003c/a> — a beloved folk and blues musician — Mary Ann and her husband Henry decided to become concert promoters. Under the moniker “Mary Ann Pollar Presents,” the pair booked the likes of Simon and Garfunkel, Taj Mahal, Joan Baez, Frank Zappa, Nancy Wilson, Buffy St. Marie, Nana Mouskouri, Judy Collins, Pete Seeger, Arlo Guthrie, Peter Paul and Mary and, of course, Nina Simone. They were also responsible for booking Bob Dylan’s very first Bay Area concert in 1964.\u003c/p>\n\u003cfigure id=\"attachment_13926549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png\" alt=\"\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-1020x778.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-768x586.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969.png 1080w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An October 1969 newspaper ad for upcoming Mary Ann Pollar Presents concerts by Nina Simone, Pete Seeger and Arlo Guthrie. \u003ccite>(San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As concert promoters, the Pollars were involved in every single aspect of getting live music to the Bay. It was their job to find appropriate stages when there were very few dedicated live music venues. In the evenings, the couple and a pre-teen Odette would sit around their dining table stuffing envelopes with upcoming concert listings and sending them out to their mailing list. (“I loved it!” Odette says, reminiscing.)\u003c/p>\n\u003cp>The couple handled advertising, ticket printing and distribution, running the box office and even picking up and driving around the artists. After concerts were over, both musicians and audience members would usually resume the party in the Pollars’ living room on Shattuck Avenue. On at least one occasion, singer-songwriter \u003ca href=\"https://www.bobneuwirth.com/\">Bob Neuwith\u003c/a> acted as the designated door guy for the Berkeley home.\u003c/p>\n\u003cp>Because of the dedicated way the couple ran their business, and because they exercised good judgment in their booking, artists grew to trust the name Pollar, and Mary Ann became known well beyond Bay Area music scene.\u003c/p>\n\u003cp>“A lot of people came because they trusted my mom,” Odette says now. “So if there was a new performer and people got a flyer from my mom, people would go, ‘Let’s go. Let’s try it.’ That was very common. In the ’50s and ’60s, this was a small community. Not that many people knew folk music. Everyone was just starting out. Bob Dylan was just starting out!”\u003c/p>\n\u003cp>Though she is often remembered for her love of folk music, Odette mentions that her mom had very eclectic musical tastes — something Mary Ann had been careful to note in her own life.\u003c/p>\n\u003cp>“I’ve never been able to understand why I like folk music so much,” she once said. “I come from a family of Baptist preachers down in Texas on the border of Mexico, so of course I love gospel music. I dig flamenco too. I never had any musical background. I am a listener — really a listener.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]oday, looking back, Odette speculates that her mother’s childhood may have been the reason Mary Ann carried herself with such confidence and fortitude. Mary Ann grew up in \u003ca href=\"https://missiontexas.us/\">Mission, Texas\u003c/a> — a town so close to the border she grew up speaking fluent Spanish. Mary Ann’s mother, conscious that her daughter would get a better formal education elsewhere, sent Mary Ann to Chicago at the age of 12 to live with relatives. Getting thrown into big city living without her mom by her side proved to be an education for Mary Ann in more ways than one. Mary Ann and her parents would never live in the same place again. Odette’s maternal grandparents died before she could ever meet them.\u003c/p>\n\u003cp>[aside postid='arts_13916612']Mary Ann’s dedication to the Bay Area was not wasted. Even after her death in 1999, her good example and the effects the spaces she created had on others, continue to endure.\u003c/p>\n\u003cp>“Whenever we showed up at the Rainbow Sign, we were greeted with big smiles and warm hugs,” Kamala Harris wrote in her 2019 autobiography, \u003cem>The Truths We Hold\u003c/em>. “Kids like me who spent time at Rainbow Sign were exposed to dozens of extraordinary men and women who showed us what we could become.”\u003c/p>\n\u003cp>“They were risk-takers but not crazy,” Odette says of her parents now. “My dad would say ‘Go to college, get a degree, have fun, do anything you want, but also make sure you have a practical skill to fall back on.’ What I got from my mom,” Odette continues, “is the idea that you could create something from nothing.”\u003c/p>\n\u003cp>Mary Ann Pollar did that over and over and over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>ne afternoon in 1972, Nina Simone was getting ready to appear at Rainbow Sign, a Black cultural center that had recently opened in Berkeley. Situated at 2640 Grove St (today’s Martin Luther King Jr. Way), the venue had been set up by local concert promoter Mary Ann Pollar the year prior. After Simone and Pollar had finished eating lunch, they were on the way out of the building when they encountered two young girls in the hall, approximately 10 and 12 years old. They immediately caught Simone’s eye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Aren’t you supposed to be in school now?” Simone asked.\u003c/p>\n\u003cp>“Oh, I don’t have to go to school,” the older child said. “I’m going to be a singer like you.”\u003c/p>\n\u003cp>Simone immediately went into mentor mode. “Out of the next 100 people who walk in here, perhaps 90 can sing as well as I do,” Simone told the girl. “Do you really want to know how to become a singer?”\u003c/p>\n\u003cp>Simone took both girls aside and talked to them for 45 minutes about the importance of education, commitment and working hard towards their goals. Simone made clear that raw talent alone was not enough to make it in the world. It was a stunning — and probably life-changing — interaction for the girls, who had shown up just hoping to catch a glimpse of their hero. A couple of years later, Mary Ann Pollar relayed the story to local journalist Sandra Greenlow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In one way,” she said, “we probably scared those children half to death. In another though, [Simone] gave them a priceless lesson.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For the six years it was open, Rainbow Sign was a hotspot for the kind of exchanges that Simone and those Berkeley children had that day. It was a venue that entertained audiences with some of the greatest Black artists of the time — Curtis Mayfield, Marvin Gaye, Pharoah Sanders, Oscar Brown Jr. and Simone amongst them. Writers like Maya Angelou, James Baldwin, Alex Haley, Alice Walker and Joyce Carol Thomas gave readings there. Historians like Samella Lewis and Mrs. W. E. B. DuBois gave talks. Legendary dancer Josephine Baker even appeared in the 200-seat hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the time, Mary Ann tried to explain what made her intimate venue so appealing to such major artists. “It’s an energy,” she said. “It floats in the air. In other places people overhear the performers. In this room, they listen. I don’t know what explains it, but here it’s more than just someone standing on a stage.”\u003c/p>\n\u003cp>Rainbow Sign was much more than a music hall too. It hosted weddings, tea parties, art shows and children’s events. It was the venue at which Shirley Chisholm announced her presidential run. It was a restaurant that served up Mary Ann’s spectacular cooking — smothered steak, fried chicken and dessert pies were all raved-about favorites. The banquet hall hosted the League of Women voters, the NAACP and the Urban League. Rainbow Sign was a place where employees recently released from San Quentin could rub shoulders with Berkeley’s first Black mayor, Warren Widener. Rainbow Sign also served as a movie theater, a venue for film and writing workshops and a floor for dance classes.\u003c/p>\n\u003cp>Mary Ann’s daughter Odette Pollar tells KQED Arts today: “I remember the feeling of Rainbow Sign. It was like walking into somebody’s home. It was very friendly and warm and welcoming. It was a big place but it was always bustling — always something going on. It was fun. Everybody was very accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13927307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png\" alt=\"A Black woman with very short hair smiles broadly, looking off in the distance. She is wearing a 1970s-era blouse with lots of ruffles.\" width=\"800\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1020x1239.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-768x933.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1265x1536.png 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2.png 1320w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Ann Pollar. \u003ccite>(Courtesy of Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen people remember Mary Ann now, it is most frequently through the lens of what she did with Rainbow Sign, which, sadly, closed in 1977 because of financial woes. But Mary Ann was a pillar of the Bay Area community from the time she moved here in 1951.\u003c/p>\n\u003cp>Mary Ann was interested in workers’ rights from a young age. After graduating from Chicago’s Roosevelt University with a degree in labor education, she shared her unionizing knowhow while working with the \u003ca href=\"https://nul.org/\">National Urban League\u003c/a> — a nonprofit that, to this day, works towards economic empowerment, education and civil rights for underserved communities. In the late ’60s, she volunteered with the \u003ca href=\"https://www.un.org/en/observances/un-day\">United Nations Day\u003c/a> Committee, even helping to organize a U.N. birthday party in Oakland in 1968.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I am a U.N. fan,” she noted at the time. “The whole idea of everybody putting in his two cents’ worth has a lot of meaning for me.”\u003c/p>\n\u003cp>After Rainbow Sign’s closure, Mary Ann went back to this kind of work while employed by AC Transit. For the two decades she worked there, she took part in multiple campaigns to benefit her fellow workers. She encouraged employees to buy savings bonds — a safe and reliable means to invest — and she organized a local union.\u003c/p>\n\u003cp>It was music, however, that first turned Mary Ann into a public figure. In the 1950s, after booking a show for their friend \u003ca href=\"https://www.newyorker.com/culture/culture-desk/how-odetta-revolutionized-folk-music\">Odetta\u003c/a> — a beloved folk and blues musician — Mary Ann and her husband Henry decided to become concert promoters. Under the moniker “Mary Ann Pollar Presents,” the pair booked the likes of Simon and Garfunkel, Taj Mahal, Joan Baez, Frank Zappa, Nancy Wilson, Buffy St. Marie, Nana Mouskouri, Judy Collins, Pete Seeger, Arlo Guthrie, Peter Paul and Mary and, of course, Nina Simone. They were also responsible for booking Bob Dylan’s very first Bay Area concert in 1964.\u003c/p>\n\u003cfigure id=\"attachment_13926549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png\" alt=\"\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-1020x778.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-768x586.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969.png 1080w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An October 1969 newspaper ad for upcoming Mary Ann Pollar Presents concerts by Nina Simone, Pete Seeger and Arlo Guthrie. \u003ccite>(San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As concert promoters, the Pollars were involved in every single aspect of getting live music to the Bay. It was their job to find appropriate stages when there were very few dedicated live music venues. In the evenings, the couple and a pre-teen Odette would sit around their dining table stuffing envelopes with upcoming concert listings and sending them out to their mailing list. (“I loved it!” Odette says, reminiscing.)\u003c/p>\n\u003cp>The couple handled advertising, ticket printing and distribution, running the box office and even picking up and driving around the artists. After concerts were over, both musicians and audience members would usually resume the party in the Pollars’ living room on Shattuck Avenue. On at least one occasion, singer-songwriter \u003ca href=\"https://www.bobneuwirth.com/\">Bob Neuwith\u003c/a> acted as the designated door guy for the Berkeley home.\u003c/p>\n\u003cp>Because of the dedicated way the couple ran their business, and because they exercised good judgment in their booking, artists grew to trust the name Pollar, and Mary Ann became known well beyond Bay Area music scene.\u003c/p>\n\u003cp>“A lot of people came because they trusted my mom,” Odette says now. “So if there was a new performer and people got a flyer from my mom, people would go, ‘Let’s go. Let’s try it.’ That was very common. In the ’50s and ’60s, this was a small community. Not that many people knew folk music. Everyone was just starting out. Bob Dylan was just starting out!”\u003c/p>\n\u003cp>Though she is often remembered for her love of folk music, Odette mentions that her mom had very eclectic musical tastes — something Mary Ann had been careful to note in her own life.\u003c/p>\n\u003cp>“I’ve never been able to understand why I like folk music so much,” she once said. “I come from a family of Baptist preachers down in Texas on the border of Mexico, so of course I love gospel music. I dig flamenco too. I never had any musical background. I am a listener — really a listener.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>oday, looking back, Odette speculates that her mother’s childhood may have been the reason Mary Ann carried herself with such confidence and fortitude. Mary Ann grew up in \u003ca href=\"https://missiontexas.us/\">Mission, Texas\u003c/a> — a town so close to the border she grew up speaking fluent Spanish. Mary Ann’s mother, conscious that her daughter would get a better formal education elsewhere, sent Mary Ann to Chicago at the age of 12 to live with relatives. Getting thrown into big city living without her mom by her side proved to be an education for Mary Ann in more ways than one. Mary Ann and her parents would never live in the same place again. Odette’s maternal grandparents died before she could ever meet them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mary Ann’s dedication to the Bay Area was not wasted. Even after her death in 1999, her good example and the effects the spaces she created had on others, continue to endure.\u003c/p>\n\u003cp>“Whenever we showed up at the Rainbow Sign, we were greeted with big smiles and warm hugs,” Kamala Harris wrote in her 2019 autobiography, \u003cem>The Truths We Hold\u003c/em>. “Kids like me who spent time at Rainbow Sign were exposed to dozens of extraordinary men and women who showed us what we could become.”\u003c/p>\n\u003cp>“They were risk-takers but not crazy,” Odette says of her parents now. “My dad would say ‘Go to college, get a degree, have fun, do anything you want, but also make sure you have a practical skill to fall back on.’ What I got from my mom,” Odette continues, “is the idea that you could create something from nothing.”\u003c/p>\n\u003cp>Mary Ann Pollar did that over and over and over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "spie-one-tdk-bay-area-graffiti-history-hip-hop",
"title": "‘Tax Dollars Kill’: Spie One’s Decades of Bay Area Graffiti Activism",
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"content": "\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he name Spie One has resonated in the Bay Area for nearly 40 years. The prolific graffiti artist, muralist and artivist may be less famous than his former painting partner, the late Mike “Dream” Francisco, but Spie is no less legendary. A mainstay of the TDK Collective, Irie Posse and FC — all with gravitas and legacy in the underground art world — Spie has been both observer and participant throughout the most dynamic eras in \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>.\u003c/p>\n\u003cp>But who is Spie? His \u003cem>nom de guerre\u003c/em> evokes subterfuge, counter-intelligence, covertness. Indeed, maintaining anonymity was imperative at the beginning of Spie’s career, during the formative stages of Bay Area graffiti itself.\u003c/p>\n\u003cp>Over the years, though, Spie evolved into a well-known force bridging activism and visual art in the streets. In recent years, he’s become an accomplished muralist working in different mediums, as well as a teacher, mentor and leader by example.\u003c/p>\n\u003cp>Those who know Spie well enough to call him a friend talk a lot about his character — his ethics, his dedication to his craft and his belief in collective liberation. They also mention his idiosyncrasies — the bugged-out sketches he randomly emails folks, his insistence on using 20-year-old paint from his garage instead of modern spray cans, his continued willingness to get up on impromptu street art missions even though he’s married with children and has a day job as a high school art teacher.[aside postid='arts_13924167,arts_13925931,arts_13924109' label='More on Bay Area Hip-Hop Culture']\u003c/p>\n\u003cp>The words “community” and “family” invariably come up in conversations with and about Spie. While he can claim status in a field where toys are destroyed and respect is earned one piece at a time, one of his defining characteristics is humility. His ethos, he says, is a simple “each one teach one” philosophy.\u003c/p>\n\u003cp>“You got knowledge, you got to pass it on,” Spie continues. “I got something to share. That’s why I chose to take my work to the next generation, the youth, and to help cultivate their imagination, their radical thoughts… Hip-hop combined with that is what has shaped my pathway.”\u003c/p>\n\u003ch2>I, Spie\u003c/h2>\n\u003cp>Spie grew up in a multiracial household in San Francisco in the 1970s, when the city was still identified with the remnants of 1960s counterculture. His artist mother and bus driver father were both activists whose shared worldview was shaped by revolutionary ideals. While his mom encouraged his artistic sensibilities, his dad let him pal along on bus rides and introduced him to eclectic, cutting-edge music, like Grandmaster Flash and the Furious Five’s “\u003ca href=\"https://www.youtube.com/watch?v=PobrSpMwKk4\">The Message\u003c/a>” — with bristling, Reagan-era sociopolitical commentary that made a lasting impression.\u003c/p>\n\u003cp>A tall, lanky youth, Spie was somewhat introverted, letting his artistic expressions manifest on notebooks and a dresser in his room. No one particular flashpoint led him to pursue graffiti. As a half-Asian kid, or \u003cem>hapa\u003c/em>, living in a diverse city, he was eager to carve out his own identity and find a community. The emergence of hip-hop and graffiti in the early ’80s gave him the sense of belonging and creative outlet he needed.\u003c/p>\n\u003cp>Spie’s first public attempt at a graffiti piece came in 1985, at the tennis courts of McAteer High School in San Francisco. It was a simple piece: a red and black rendering of his early moniker “Spy,” written boldly. Next to it were the words “one man bomber” — a testament to the fact that Spie painted it alone.\u003c/p>\n\u003cfigure id=\"attachment_13926652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s first piece at San Francisco’s McAteer High School, circa late 1983 or early 1984. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a 2017 episode of Adam Fujita’s popular \u003ca href=\"https://podcasts.apple.com/us/podcast/episode-6-season-2-spie-tdk-fc-tmc-irie-possee/id1170942266?i=1000408431397\">graffiti podcast \u003cem>My Life In Letters\u003c/em>\u003c/a>, Spie explained how the piece brought him local notoriety; he soon became an active tagger on Muni buses, as well as in the Excelsior and the Mission. A Muni Fast Pass afforded him the opportunity to visit other neighborhoods and write his graffiti name across the city, and as he grew more prolific, so did his stylistic ability and reputation.\u003c/p>\n\u003cp>Young Spie wasn’t alone in this endeavor. Alongside him in the 1980s were hundreds, maybe thousands of restless youth finding their way within graffiti. The status quo called them vandals. But graffiti was \u003cem>their\u003c/em> counterculture, and a way to find meaning and identity in a society that didn’t always see or hear them. [pullquote size='large' citation='Spie']‘I got something to share. That’s why I chose to take my work to the next generation, the youth, and to help cultivate their imagination, their radical thoughts.’[/pullquote]\u003c/p>\n\u003cp>By 1982, graffiti had become known as one of hip-hop’s four elements. But it was also a standalone culture that preceded b-boying, MCing and DJ scratching. The \u003ca href=\"http://southsideprojections.org/2018/the-mural-movement-and-the-black-arts-movement/\">community mural movement\u003c/a> dated back to 1967 Chicago and aligned with the Black Arts Movement. Murals were already part of the cultural expression of \u003ca href=\"https://www.kcet.org/arts-culture/el-movimiento\">El Movimiento\u003c/a>, a.k.a. the Chicano Movement, a push for ethnic identity and empowerment. The \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a> originated in Philadelphia in the late ’60s before spreading to New York. And gang-affiliated tags had long permeated SF’s Mission and Excelsior districts.\u003c/p>\n\u003cp>These cultural precedents were integral to graffiti’s evolution. In the late 1970s and early ’80s, New York’s aerosol kings conquered the subways of the five boroughs. Even though the Metropolitan Transit Authority combatted their wild styles with “the buff,” word spread around the country with films like 1983’s \u003cem>Wild Style\u003c/em>, along with the documentary \u003cem>Style Wars\u003c/em>, which aired nationally on PBS the same year. Its broadcast on KQED \u003ca href=\"https://www.kqed.org/artschool/52/bay-area-graffiti-the-early-days\">catalyzed the Bay Area graffiti scene\u003c/a>. “There was this gravitational pull toward what was happening coming out of these films,” Spie recalls.\u003c/p>\n\u003ch2>One wall to rule them all\u003c/h2>\n\u003cp>By the mid-’80s, a series of walls in an unsecured downtown parking lot near Van Ness Avenue and Market Street became an unlikely ground zero for aspiring aerosol aficionados. A wall painted by Doug “Dug-1” Cunningham in 1986 entitled “Psycho City” became so iconic, the quasi-legal graffiti spot was soon named in its honor.\u003c/p>\n\u003cp>“When Dug hit it, it was a full-on burner,” Spie recalls, referring to a particularly impressive stylistic production that metaphorically burned competition. “It was like it was framed. It was very solidly panoramic, rectangular. It had characters.”\u003c/p>\n\u003cp>Afterwards, “[graffiti] just started to expand to all the neighboring walls, to the point where [Psycho City] became the place to go to paint,” Spie adds.\u003c/p>\n\u003cfigure id=\"attachment_13926653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-800x550.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986.jpg 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dug-1’s ‘Psycho City’ piece gave the legendary San Francisco graffiti spot its name in 1986. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graffiti artists from all over the Bay Area, and even other states and countries, found their way to Psycho City. Over time, the scene became more competitive as wall space became more limited. A piece painted one night might be painted over the next. Needless to say, the competition fueled innovation, as productions became bolder, bigger and more ambitious.\u003c/p>\n\u003cp>Spie recalls Psycho City remaining active up until November 1992, when a street festival featuring barbeque, DJs, and breakdancing by NYC’s Rock Steady Crew attracted police attention. In the ensuing confrontation, police vehicles were vandalized. The cops returned in greater numbers and began ticketing people. Soon after, “No Loitering” signs were put up, which allowed police to cite anyone in the area, effectively ending Psycho City’s reign. The irony, Spie says, is that instead of graffiti being contained within one centralized location, the police action “ended up pushing it to other parts of town.”\u003c/p>\n\u003cfigure id=\"attachment_13864059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-800x514.png\" alt='Mike \"Dream\" Francisco' width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1200x771.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1920x1234.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s late painting partner, Mike ‘Dream’ Francisco. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pieces of a Dream\u003c/h2>\n\u003cp>By 1987, Spie had earned a reputation as an up-and-coming artist with a versatile array of lettering styles. That reputation would only grow over time — and with the help of a legendary collaborator.\u003c/p>\n\u003cp>Over in Oakland, a Filipino American artist named Mike “Dream” Francisco had established himself as the king of the 23rd Yard, a popular graffiti destination. At the time, “I didn’t know Dream, but he was my hero,” Spie says.\u003c/p>\n\u003cp>In July 1987, Dream painted a massive mural at the 23rd Yard entitled “Best of Both Worlds.” The painting — which has since become the center spread of 2011’s \u003cem>\u003ca href=\"https://www.pbs.org/newshour/arts/the-history-of-american-graffiti-from-subway-car-to-gallery\">The History of American Graffiti\u003c/a>\u003c/em> — consisted of two elaborately detailed letterforms, one in the computer-esque “New Wave” style and the other in the abstract “Funk” style. In mastering both styles, Dream was sending a not-so-subtle message to fellow artists of unity instead of division.\u003c/p>\n\u003cp>Spie and some artist pals journeyed to Oakland to see the wall. “Everyone was talking about it,” he says. He and Dream became friends that day, although it would be another two years before they would begin collaborating in earnest.\u003c/p>\n\u003cp>Soon after, Phase 2’s widely respected magazine \u003cem>\u003ca href=\"https://rmc.library.cornell.edu/EAD/htmldocs/RMM08067.html\">International Graffiti Times\u003c/a>\u003c/em> put out a call for artist submissions. “Dream won that one and it got really popularized. And then everybody knew that the Bay Area had a scene going on… Dream put the Bay Area on the map as far as graff,” Spie says.\u003c/p>\n\u003cfigure id=\"attachment_13926667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13926667 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-800x145.jpg\" alt=\"\" width=\"800\" height=\"145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-800x145.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1020x185.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-160x29.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-768x140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1536x279.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-2048x372.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1920x349.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream’s 1987 ‘Best of Both Worlds’ wall in Oakland. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area graffiti was growing exponentially, “but it was frowned upon,” says Susan Cervantes of Mission-based arts non-profit \u003ca href=\"https://www.precitaeyes.org/\">Precita Eyes\u003c/a>. “If you had a marker you were considered a criminal. Youth were taking a lot of risk trying to do it.”\u003c/p>\n\u003cp>Still, the subculture continued to thrive. In August 1987, Henry Chalfant and James Prigoff’s book \u003cem>Spraycan Art\u003c/em> showcased local artists Crayone TWS, Del Phresh, Whisky and Daube alongside national and international talent.\u003c/p>\n\u003cp>“We were in love with [\u003cem>Spraycan Art\u003c/em>],” Spie says. He notes Prigoff, then a local resident, would sometimes invite Bay Area artists over to his house to view photographs of graffiti from other regions.\u003c/p>\n\u003cp>Cervantes, a community muralist since the ’70s, recognized that a new artistic movement was underway. Precita Eyes hosted a book release party for \u003cem>Spraycan Art\u003c/em>, and Cervantes curated a graffiti art competition at Mission Cultural Center, which brought her into contact with 16-year-old Spie, who knew some of the artists in the competition. After the event, Spie stayed in touch with Cervantes and the organization as they started to integrate graffiti’s aesthetic into their youth programming. They’ve been connected ever since.\u003c/p>\n\u003cp>In 1996, Spie and Dream participated in a panel during Precita Eyes’ first Urban Youth Arts Festival. “They discussed their experiences in the graffiti movement with all the young people who came to participate,” Cervantes says. “They were really good about the history of the graff movement and how important it was to show respect for each others’ work.” Their engagement with young people set a tone that Precita Eyes has followed for 27 years, with the annual festival as a linchpin of its programmatic activities.\u003c/p>\n\u003cp>“[Spie] is a really special person,” Cervantes says. “I think he’s very articulate not only in his visual expression, but also in activism around the issues that are important to him.”\u003c/p>\n\u003cfigure id=\"attachment_13926650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-800x528.jpg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mike “Dream” Francisco stands before his collaborative mural with Spie One, ‘Tax Dollars Kill,’ in 1995. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fighting the power\u003c/h2>\n\u003cp>Spie has always viewed activism as a generational legacy. He tells a story of how, during the height of the anti-apartheid movement, Berkeley hosted a “Spirit of Soweto” street festival on Telegraph Avenue. Revolution Books provided canvases for artists to paint politically-themed works. Coincidentally, Spie and Dream both brought sketches of \u003ca href=\"https://www.youtube.com/watch?v=luVpsM3YAgw\">Steve Biko\u003c/a>, a martyred South African activist.\u003c/p>\n\u003cp>Clearly, the two artists were aligned in their politics and artistic sensibilities, and Spie and Dream began working together shortly after. By that point, Spie had become a master of letterforms, characters and backgrounds. In archival photographs of their many collaborations, the pair appear evenly matched; a 1992 co-production at Psycho City literally rises above lesser tags with blazingly vibrant colors and impeccable aerosol calligraphy.\u003c/p>\n\u003cfigure id=\"attachment_13926654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-800x517.jpg\" alt=\"\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-1536x993.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi.jpg 1685w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative piece by Spie and Dream at Psycho City in 1992. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spie joined Dream’s crew TDK, influencing the collective’s aesthetic artistically and ideologically. The acronym originally stood for “Those Damn Kids,” but soon morphed into alternate meanings, among them “Teach Dem Knowledge.”\u003c/p>\n\u003cp>Francisco “Amend” Sanchez was still in high school when he met Dream, who was working at the Built to Last tattoo parlor, where aspiring young artists would often “hover” to watch the master at work. At the time, Sanchez had a different tag, but he switched to writing Amend after Dream told him, “Your name should represent. You should have some value to who you are.”\u003c/p>\n\u003cp>TDK, Amend says, isn’t just about the style of graffiti. “It’s also about just the culture within, an urban community that you want to represent and speak up for.”\u003c/p>\n\u003cp>According to Amend, Spie plays a unique role within the crew. “He doesn’t get enough credit on how influential he’s been in the Bay Area for multiple generations. As far as TDK goes, I think he’s the main guy who would push Mike Dream, to push the crew to go into that whole social justice point of view, speaking up for … people in the community.”\u003c/p>\n\u003cp>“This was the ‘Fight the Power’ era,” Spie recalls — a time when hip-hop often felt like a political movement, and rappers like Public Enemy and KRS-One pushed the envelope of sociopolitical commentary in pop culture. For Spie, it was a no-brainer to contribute visually, and inspire others to do the same. There were many causes to join: reproductive rights, opposing anti-immigration laws, protesting LAPD’s beating of Rodney King, pushing back against the Gulf War and resisting the 500-year anniversary of Columbus’ “discovery” of America in 1992.\u003c/p>\n\u003cp>“It was a great time of awareness,” Spie says. “I was very much in a learning mode of being aware of the Native struggle and needing to [let people] know that we are occupying Native peoples’ territories.”\u003c/p>\n\u003cfigure id=\"attachment_13926719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-800x580.jpg\" alt=\"\" width=\"800\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-1536x1114.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy.jpg 1783w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s ‘Solidarity’ was commissioned by the Oakland Museum of California for the exhibition ‘Respect: Style and Wisdom of Hip-Hop’ in 2018. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>No justice, just us\u003c/h2>\n\u003cp>As political graffiti proliferated in the Bay Area, a January 1993 exhibition at Oakland’s Pro Arts gallery titled \u003cem>No Justice No Peace\u003c/em> became the first local gallery show to feature the artform. Eastside Arts Alliance co-founder Greg Morozumi organized it during the Rodney King protests, which raised profound questions about police accountability. The exhibition, Spie says, was a “proverbial middle finger” against the system.\u003c/p>\n\u003cp>To enter the gallery, attendees had to walk over an American flag. “That was the welcome mat,” Spie says. Inside, viewers were greeted by paintings by Spie, Dream, Krash, Dug-1 and Refa One — most of which questioned the authority of law enforcement while reinforcing community resilience. Spie and Dream’s “No Justice” paid tribute to Jesse “Plan-B” Hall, an \u003ca href=\"https://youtu.be/7-NYa6SDNP8\">emerging rapper who was murdered in a still-unsolved drive-by shooting\u003c/a> in Oakland’s Sobrante Park. Juxtaposed with a Krash painting of a porcine-faced police officer pointing a gun, the piece addressed the emotional toll of inner-city violence.\u003c/p>\n\u003cfigure id=\"attachment_13926659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-800x554.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-1536x1063.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93.jpg 1712w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A look inside the ‘No Justice, No Peace’ exhibition at ProArts in 1993. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1994, Dream and Spie painted an on-stage backdrop for KMEL’s annual Summer Jam concert. The show, headlined by Patti LaBelle, also featured locals E-40, Rappin’ 4-Tay, Tony! Toni! Toné! and A Lighter Shade of Brown, along with Public Enemy, OutKast and Queen Latifah. The backdrop proved that the duo weren’t always incendiary, with colorful letters spelling out “Respect” along with the message “peace follows.”\u003c/p>\n\u003cp>In 1995, Spie and Dream collaborated on one of their most unflinching murals: “Tax Dollars Kill.” The names of the artists appeared in typical graffiti wildstyle fashion; above them was a depiction of lightning striking the U.S. Capitol building. The symbolism was inescapable, especially because the mural’s title was rendered boldly above the signatures in white lettering, like a masthead.\u003c/p>\n\u003cp>Throughout their association, Spie and Dream would “always try to bring some kind of message … something poetic to be a part of what people were reading, as far as the painting goes. And that just kind of kept manifesting.”\u003c/p>\n\u003cfigure id=\"attachment_13926708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/IMG_6410-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A copy of a 1994 edition of the \u003ci>San Francisco Chronicle\u003c/i> saved by Spie One, showing Patti Labelle performing in front of his collaborative mural with Mike “Dream” Francisco. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to political influence, artist Cece Carpio, who calls Spie a mentor, maintains that he helped establish a Bay Area-identified lettering style. In the pre-internet days, she explains, graffiti was less ubiquitous and regions were often associated with specific styles. “Back then, the Bay Area letters got kind of curvy, just stylized lettering. I actually believe that’s something that the Bay Area started, and Spie was one of the pioneers who did that.”\u003c/p>\n\u003ch2>A controversial mural with a message\u003c/h2>\n\u003cp>While enrolled as an undergrad at San Francisco State University in 1996, Spie painted his first work with acrylic paint and brushes: a portrait of Malcolm X to commemorate the \u003ca href=\"https://www.kqed.org/bayareahiphop/timeline#third-world-liberation-front-paves-the-way-for-black-and-brown-unity\">1968 Third World Liberation Front student strike\u003c/a>, which resulted in the creation of one of the country’s first ethnic studies departments. Working in the mode of a traditional painter caused some apprehension and soul-searching for Spie.\u003c/p>\n\u003cp>“It was always just this back-and-forth around, ‘Are you staying true to this art form? Are you trying to do that other established thing that other people already consider art?’” he recalls. “That was something that I struggled with a lot of those years. But I think the Malcolm X piece really helped me to open up my own personal arts avenues much wider.”\u003c/p>\n\u003cp>Although the mural’s unveiling was a success (Spie got to meet Malcolm’s widow, Betty Shabazz, who came out for the event), the project had a long and controversial backstory.\u003c/p>\n\u003cp>An earlier version of the mural, painted by Oakland artist \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\">Refa One\u003c/a>, included a border with dollar bills, a burning American flag, and a Star of David. Needless to say, this did not go over well with the university, whose spokesperson \u003ca href=\"https://www.nytimes.com/1994/05/27/us/san-francisco-state-destroys-malcolm-x-mural-after-furor.html\">called the piece “hateful” in \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em>\u003c/a>. [ad fullwidth]\u003c/p>\n\u003cp>The school administration ordered the mural to be covered up, but a group of students reclaimed it with a bucket of water and soap, and camped out in front of the mural to protect it from further harm. In response, the school brought in a tactical unit in riot gear, aided by the SFPD, Spie recalls. Eventually, the mural was sandblasted over. “It was like they were assassinating Malcolm twice,” Spie says.\u003c/p>\n\u003cp>Two years later, the university put out another call for artists, and Spie was selected. Facing pressure from student activists, the school administration asked him to work with a Black artist, Kamau Ayubbi, a friend he knew from the 23rd Yard. The completed mural, still visible today, features two portraits of Malcolm X, with the African continent surrounding the United States, painted in black, in the background. It also includes a Malcolm X quote: “Our objective is complete freedom, justice, and equality By Any Means Necessary.”\u003c/p>\n\u003cfigure id=\"attachment_13926660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-2048x1460.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1920x1369.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie and Kama Ayubbo’s 1996 Malcolm X mural at San Francisco State University. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rebel without a pause\u003c/h2>\n\u003cp>In 2000, the unthinkable happened: Mike Dream was murdered in West Oakland. The still-unsolved killing deprived the Bay Area of its most legendary graffiti artist. “It was a devastating blow when he left this world. … So much of my own kind of self-actualization came through his guidance,” Spie \u003ca href=\"https://eastbayexpress.com/a-dream-continued-1/\">later told the \u003cem>East Bay Express\u003c/em>\u003c/a>. Spie and the TDK crew have kept Dream alive and in their hearts for the past 23 years, organizing a series of annual “Dream Day” events in Oakland \u003ca href=\"https://hiphopandpolitics.com/tag/mike-dream/\">beginning in 2010\u003c/a>, benefitting Dream’s son Akil.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cDp38sltic8\u003c/p>\n\u003cp>Rather than slow down, though, TDK remained active. Amend, Vogue and Stash all became widely known artists in their own right. Dream protege Marty Aranaydo, a.k.a. Meut TDK, a.k.a. DJ Willie Maze, furthered hip-hop activism through painting and as a member of socially conscious DJ collective Local 1200. Meanwhile, Spie soldiered on, earning a teaching credential and landing a job teaching art at a regional high school.\u003c/p>\n\u003cp>In the 2000s, a new generation of artist collectives emerged, building directly on Dream and Spie’s sociopolitical blueprint and the family values of TDK. \u003ca href=\"https://www.trustyourstruggle.org/\">Trust Your Struggle\u003c/a> member Carpio says Spie has gone out of his way to push her artistic efforts to the next level. And while \u003ca href=\"https://www.kqed.org/arts/13868732/cece-carpio\">Carpio’s work stands on its own\u003c/a>, Spie’s influence reflects in themes of Indigenous advocacy, resilience and racial solidarity.\u003c/p>\n\u003cp>The two recently painted a commemorative project at UC Berkeley honoring the Third World Liberation Front. The project, which has yet to be installed, features vibrant portraits of revolutionary icons Richard Aoki, June Jordan, Lehman Brightman, Ron Takaki and LaNada War Jack. According to Carpio, “what makes [Spie’s art] different in comparison to a lot of other graffiti and street art is his accountability to the movement and his accountability to the community.”\u003c/p>\n\u003cfigure id=\"attachment_13926661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-800x816.jpg\" alt=\"\" width=\"800\" height=\"816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-800x816.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1020x1040.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-768x783.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1506x1536.jpg 1506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1920x1958.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall.jpg 2006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2014’s ‘Key Tree,’ Spie’s contribution to Oakland’s Palestine Solidarity Wall, visualizes liberation of oppressed peoples. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spie has painted in New York, Los Angeles, Jamaica, Puerto Rico, Hawaii, Cuba, Costa Rica, Mexico and Portugal. Still, some of his most memorable work has been local. In 2007, he, Mike Ramos and H.O.M.E.Y. \u003ca href=\"https://digitalstories.famsf.org/teo/#teotihuacan-in-san-francisco\">painted\u003c/a> the mythical Aztec Feathered Serpent in the Mission. In 2014, he was one of 12 muralists who contributed to the “\u003ca href=\"https://artforces.org/projects/murals/usa/oakland-palestine-solidarity-mural/\">Oakland Palestine Solidarity Mural\u003c/a>” in Uptown.\u003c/p>\n\u003cp>In 2018, he manifested a solidarity-themed mural as part of the Oakland Museum’s first-ever hip-hop exhibit, and a ruby-throated hummingbird for environmental justice organization PODER. During the pandemic, he and several family members volunteered to paint the exterior of the Precita Eyes building. In 2021, during the George Floyd protests, he was one of the first artists to turn downtown Oakland into an outdoor art gallery. And in 2022, he painted a work entitled “\u003ca href=\"https://www.artspanart.org/eric-norberg-eai-summer-2022\">Serve the People\u003c/a>” on the window of Casa De Apoyo, a transitional housing resource center in the Excelsior.\u003c/p>\n\u003cp>As he’s become a more accomplished muralist, Spie has stayed true to his roots by including elements of graffiti even when working with other mediums. “I can remember that he started using acrylic paint with a brush to block in everything, and then he would do all the fine effects and details with the aerosol,” Cervantes says. “And that’s kind of what our youth arts program still does today.”\u003c/p>\n\u003cp>Throughout his storied career, Spie says he “always chose the side of the earth, the subjected and the oppressed. And, you know, what they like to say: the voice of the voiceless.”\u003c/p>\n\u003cfigure id=\"attachment_13926662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie and Cece Carpio collaborated on a tribute to the Third World Liberation Front and other revolutionary activists. Their work will be installed at UC Berkeley at a later date. \u003ccite>(Cece Carpio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TDK: The Dream Kontinues\u003c/h2>\n\u003cp>Spie can recount descriptive accounts of protests from decades past, but when asked about future projects, he simply sends over a link to YBCA’s recent “YBCA 100” celebration, with a visual art display by TDK Collective.\u003c/p>\n\u003cp>At the event, Spie held court on the venue’s second floor, dressed unassumingly in a Madow Futur jacket and \u003ca href=\"https://youtu.be/i5OX8pDTyow\">Bored Stiff\u003c/a> baseball hat. As he greeted attendees, including visual artist Agana and documentary filmmaker Eli Jacobs-Fantauzzi, a monitor played \u003cem>\u003ca href=\"https://www.kqed.org/artschool/52/bay-area-graffiti-the-early-days\">Bay Area Graffiti: The Early Years\u003c/a>\u003c/em>, followed by \u003cem>Style Wars\u003c/em>.\u003c/p>\n\u003cp>Art supplies were laid out on a table, along with various hardcover books on graffiti. Adjacent walls were decorated with TDK’s historical works: several Spie-Dream collaborations, including “Tax Dollars Kill,” and a tribute to the Rodney King uprisings that depicted an overturned police car, a colorful piece by Pak (R.I.P.), a tribute to Plan-B, and a late career piece by Dream. Several of Spie’s solo works were integrated, among them two vibrant “Spie” letterforms, linked by the word “vs.” (referencing the classic \u003cem>Mad\u003c/em> magazine cartoon “Spy vs. Spy”). The artist was clearly in his element.\u003c/p>\n\u003cp>Spie pulled out a binder he’d assembled, consisting of Dream’s pieces, sketches, quotes and airbrush work. The collection held serious gravitas; all that it needed to be included in a library alongside \u003cem>Spraycan Art\u003c/em>, \u003cem>Dondi White: Style Master General\u003c/em> and similar graffiti books was a hardcover binding and written essays.\u003c/p>\n\u003cp>Whatever the future holds – a comprehensive TDK retrospective, the publication of his Dream book or some other legacy project – Spie doesn’t reveal exact plans. It’s understandable, and completely in character, that after five decades as an artist, he seems to take satisfaction in maintaining his mystique, revealing only what he deems necessary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Meet graffiti artist Spie One, the Bay Area legend whose work spans nearly every era of graffiti.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he name Spie One has resonated in the Bay Area for nearly 40 years. The prolific graffiti artist, muralist and artivist may be less famous than his former painting partner, the late Mike “Dream” Francisco, but Spie is no less legendary. A mainstay of the TDK Collective, Irie Posse and FC — all with gravitas and legacy in the underground art world — Spie has been both observer and participant throughout the most dynamic eras in \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>.\u003c/p>\n\u003cp>But who is Spie? His \u003cem>nom de guerre\u003c/em> evokes subterfuge, counter-intelligence, covertness. Indeed, maintaining anonymity was imperative at the beginning of Spie’s career, during the formative stages of Bay Area graffiti itself.\u003c/p>\n\u003cp>Over the years, though, Spie evolved into a well-known force bridging activism and visual art in the streets. In recent years, he’s become an accomplished muralist working in different mediums, as well as a teacher, mentor and leader by example.\u003c/p>\n\u003cp>Those who know Spie well enough to call him a friend talk a lot about his character — his ethics, his dedication to his craft and his belief in collective liberation. They also mention his idiosyncrasies — the bugged-out sketches he randomly emails folks, his insistence on using 20-year-old paint from his garage instead of modern spray cans, his continued willingness to get up on impromptu street art missions even though he’s married with children and has a day job as a high school art teacher.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The words “community” and “family” invariably come up in conversations with and about Spie. While he can claim status in a field where toys are destroyed and respect is earned one piece at a time, one of his defining characteristics is humility. His ethos, he says, is a simple “each one teach one” philosophy.\u003c/p>\n\u003cp>“You got knowledge, you got to pass it on,” Spie continues. “I got something to share. That’s why I chose to take my work to the next generation, the youth, and to help cultivate their imagination, their radical thoughts… Hip-hop combined with that is what has shaped my pathway.”\u003c/p>\n\u003ch2>I, Spie\u003c/h2>\n\u003cp>Spie grew up in a multiracial household in San Francisco in the 1970s, when the city was still identified with the remnants of 1960s counterculture. His artist mother and bus driver father were both activists whose shared worldview was shaped by revolutionary ideals. While his mom encouraged his artistic sensibilities, his dad let him pal along on bus rides and introduced him to eclectic, cutting-edge music, like Grandmaster Flash and the Furious Five’s “\u003ca href=\"https://www.youtube.com/watch?v=PobrSpMwKk4\">The Message\u003c/a>” — with bristling, Reagan-era sociopolitical commentary that made a lasting impression.\u003c/p>\n\u003cp>A tall, lanky youth, Spie was somewhat introverted, letting his artistic expressions manifest on notebooks and a dresser in his room. No one particular flashpoint led him to pursue graffiti. As a half-Asian kid, or \u003cem>hapa\u003c/em>, living in a diverse city, he was eager to carve out his own identity and find a community. The emergence of hip-hop and graffiti in the early ’80s gave him the sense of belonging and creative outlet he needed.\u003c/p>\n\u003cp>Spie’s first public attempt at a graffiti piece came in 1985, at the tennis courts of McAteer High School in San Francisco. It was a simple piece: a red and black rendering of his early moniker “Spy,” written boldly. Next to it were the words “one man bomber” — a testament to the fact that Spie painted it alone.\u003c/p>\n\u003cfigure id=\"attachment_13926652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s first piece at San Francisco’s McAteer High School, circa late 1983 or early 1984. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a 2017 episode of Adam Fujita’s popular \u003ca href=\"https://podcasts.apple.com/us/podcast/episode-6-season-2-spie-tdk-fc-tmc-irie-possee/id1170942266?i=1000408431397\">graffiti podcast \u003cem>My Life In Letters\u003c/em>\u003c/a>, Spie explained how the piece brought him local notoriety; he soon became an active tagger on Muni buses, as well as in the Excelsior and the Mission. A Muni Fast Pass afforded him the opportunity to visit other neighborhoods and write his graffiti name across the city, and as he grew more prolific, so did his stylistic ability and reputation.\u003c/p>\n\u003cp>Young Spie wasn’t alone in this endeavor. Alongside him in the 1980s were hundreds, maybe thousands of restless youth finding their way within graffiti. The status quo called them vandals. But graffiti was \u003cem>their\u003c/em> counterculture, and a way to find meaning and identity in a society that didn’t always see or hear them. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By 1982, graffiti had become known as one of hip-hop’s four elements. But it was also a standalone culture that preceded b-boying, MCing and DJ scratching. The \u003ca href=\"http://southsideprojections.org/2018/the-mural-movement-and-the-black-arts-movement/\">community mural movement\u003c/a> dated back to 1967 Chicago and aligned with the Black Arts Movement. Murals were already part of the cultural expression of \u003ca href=\"https://www.kcet.org/arts-culture/el-movimiento\">El Movimiento\u003c/a>, a.k.a. the Chicano Movement, a push for ethnic identity and empowerment. The \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a> originated in Philadelphia in the late ’60s before spreading to New York. And gang-affiliated tags had long permeated SF’s Mission and Excelsior districts.\u003c/p>\n\u003cp>These cultural precedents were integral to graffiti’s evolution. In the late 1970s and early ’80s, New York’s aerosol kings conquered the subways of the five boroughs. Even though the Metropolitan Transit Authority combatted their wild styles with “the buff,” word spread around the country with films like 1983’s \u003cem>Wild Style\u003c/em>, along with the documentary \u003cem>Style Wars\u003c/em>, which aired nationally on PBS the same year. Its broadcast on KQED \u003ca href=\"https://www.kqed.org/artschool/52/bay-area-graffiti-the-early-days\">catalyzed the Bay Area graffiti scene\u003c/a>. “There was this gravitational pull toward what was happening coming out of these films,” Spie recalls.\u003c/p>\n\u003ch2>One wall to rule them all\u003c/h2>\n\u003cp>By the mid-’80s, a series of walls in an unsecured downtown parking lot near Van Ness Avenue and Market Street became an unlikely ground zero for aspiring aerosol aficionados. A wall painted by Doug “Dug-1” Cunningham in 1986 entitled “Psycho City” became so iconic, the quasi-legal graffiti spot was soon named in its honor.\u003c/p>\n\u003cp>“When Dug hit it, it was a full-on burner,” Spie recalls, referring to a particularly impressive stylistic production that metaphorically burned competition. “It was like it was framed. It was very solidly panoramic, rectangular. It had characters.”\u003c/p>\n\u003cp>Afterwards, “[graffiti] just started to expand to all the neighboring walls, to the point where [Psycho City] became the place to go to paint,” Spie adds.\u003c/p>\n\u003cfigure id=\"attachment_13926653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-800x550.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986.jpg 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dug-1’s ‘Psycho City’ piece gave the legendary San Francisco graffiti spot its name in 1986. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graffiti artists from all over the Bay Area, and even other states and countries, found their way to Psycho City. Over time, the scene became more competitive as wall space became more limited. A piece painted one night might be painted over the next. Needless to say, the competition fueled innovation, as productions became bolder, bigger and more ambitious.\u003c/p>\n\u003cp>Spie recalls Psycho City remaining active up until November 1992, when a street festival featuring barbeque, DJs, and breakdancing by NYC’s Rock Steady Crew attracted police attention. In the ensuing confrontation, police vehicles were vandalized. The cops returned in greater numbers and began ticketing people. Soon after, “No Loitering” signs were put up, which allowed police to cite anyone in the area, effectively ending Psycho City’s reign. The irony, Spie says, is that instead of graffiti being contained within one centralized location, the police action “ended up pushing it to other parts of town.”\u003c/p>\n\u003cfigure id=\"attachment_13864059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-800x514.png\" alt='Mike \"Dream\" Francisco' width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1200x771.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1920x1234.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s late painting partner, Mike ‘Dream’ Francisco. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pieces of a Dream\u003c/h2>\n\u003cp>By 1987, Spie had earned a reputation as an up-and-coming artist with a versatile array of lettering styles. That reputation would only grow over time — and with the help of a legendary collaborator.\u003c/p>\n\u003cp>Over in Oakland, a Filipino American artist named Mike “Dream” Francisco had established himself as the king of the 23rd Yard, a popular graffiti destination. At the time, “I didn’t know Dream, but he was my hero,” Spie says.\u003c/p>\n\u003cp>In July 1987, Dream painted a massive mural at the 23rd Yard entitled “Best of Both Worlds.” The painting — which has since become the center spread of 2011’s \u003cem>\u003ca href=\"https://www.pbs.org/newshour/arts/the-history-of-american-graffiti-from-subway-car-to-gallery\">The History of American Graffiti\u003c/a>\u003c/em> — consisted of two elaborately detailed letterforms, one in the computer-esque “New Wave” style and the other in the abstract “Funk” style. In mastering both styles, Dream was sending a not-so-subtle message to fellow artists of unity instead of division.\u003c/p>\n\u003cp>Spie and some artist pals journeyed to Oakland to see the wall. “Everyone was talking about it,” he says. He and Dream became friends that day, although it would be another two years before they would begin collaborating in earnest.\u003c/p>\n\u003cp>Soon after, Phase 2’s widely respected magazine \u003cem>\u003ca href=\"https://rmc.library.cornell.edu/EAD/htmldocs/RMM08067.html\">International Graffiti Times\u003c/a>\u003c/em> put out a call for artist submissions. “Dream won that one and it got really popularized. And then everybody knew that the Bay Area had a scene going on… Dream put the Bay Area on the map as far as graff,” Spie says.\u003c/p>\n\u003cfigure id=\"attachment_13926667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13926667 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-800x145.jpg\" alt=\"\" width=\"800\" height=\"145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-800x145.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1020x185.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-160x29.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-768x140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1536x279.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-2048x372.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1920x349.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream’s 1987 ‘Best of Both Worlds’ wall in Oakland. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area graffiti was growing exponentially, “but it was frowned upon,” says Susan Cervantes of Mission-based arts non-profit \u003ca href=\"https://www.precitaeyes.org/\">Precita Eyes\u003c/a>. “If you had a marker you were considered a criminal. Youth were taking a lot of risk trying to do it.”\u003c/p>\n\u003cp>Still, the subculture continued to thrive. In August 1987, Henry Chalfant and James Prigoff’s book \u003cem>Spraycan Art\u003c/em> showcased local artists Crayone TWS, Del Phresh, Whisky and Daube alongside national and international talent.\u003c/p>\n\u003cp>“We were in love with [\u003cem>Spraycan Art\u003c/em>],” Spie says. He notes Prigoff, then a local resident, would sometimes invite Bay Area artists over to his house to view photographs of graffiti from other regions.\u003c/p>\n\u003cp>Cervantes, a community muralist since the ’70s, recognized that a new artistic movement was underway. Precita Eyes hosted a book release party for \u003cem>Spraycan Art\u003c/em>, and Cervantes curated a graffiti art competition at Mission Cultural Center, which brought her into contact with 16-year-old Spie, who knew some of the artists in the competition. After the event, Spie stayed in touch with Cervantes and the organization as they started to integrate graffiti’s aesthetic into their youth programming. They’ve been connected ever since.\u003c/p>\n\u003cp>In 1996, Spie and Dream participated in a panel during Precita Eyes’ first Urban Youth Arts Festival. “They discussed their experiences in the graffiti movement with all the young people who came to participate,” Cervantes says. “They were really good about the history of the graff movement and how important it was to show respect for each others’ work.” Their engagement with young people set a tone that Precita Eyes has followed for 27 years, with the annual festival as a linchpin of its programmatic activities.\u003c/p>\n\u003cp>“[Spie] is a really special person,” Cervantes says. “I think he’s very articulate not only in his visual expression, but also in activism around the issues that are important to him.”\u003c/p>\n\u003cfigure id=\"attachment_13926650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-800x528.jpg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mike “Dream” Francisco stands before his collaborative mural with Spie One, ‘Tax Dollars Kill,’ in 1995. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fighting the power\u003c/h2>\n\u003cp>Spie has always viewed activism as a generational legacy. He tells a story of how, during the height of the anti-apartheid movement, Berkeley hosted a “Spirit of Soweto” street festival on Telegraph Avenue. Revolution Books provided canvases for artists to paint politically-themed works. Coincidentally, Spie and Dream both brought sketches of \u003ca href=\"https://www.youtube.com/watch?v=luVpsM3YAgw\">Steve Biko\u003c/a>, a martyred South African activist.\u003c/p>\n\u003cp>Clearly, the two artists were aligned in their politics and artistic sensibilities, and Spie and Dream began working together shortly after. By that point, Spie had become a master of letterforms, characters and backgrounds. In archival photographs of their many collaborations, the pair appear evenly matched; a 1992 co-production at Psycho City literally rises above lesser tags with blazingly vibrant colors and impeccable aerosol calligraphy.\u003c/p>\n\u003cfigure id=\"attachment_13926654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-800x517.jpg\" alt=\"\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-1536x993.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi.jpg 1685w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative piece by Spie and Dream at Psycho City in 1992. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spie joined Dream’s crew TDK, influencing the collective’s aesthetic artistically and ideologically. The acronym originally stood for “Those Damn Kids,” but soon morphed into alternate meanings, among them “Teach Dem Knowledge.”\u003c/p>\n\u003cp>Francisco “Amend” Sanchez was still in high school when he met Dream, who was working at the Built to Last tattoo parlor, where aspiring young artists would often “hover” to watch the master at work. At the time, Sanchez had a different tag, but he switched to writing Amend after Dream told him, “Your name should represent. You should have some value to who you are.”\u003c/p>\n\u003cp>TDK, Amend says, isn’t just about the style of graffiti. “It’s also about just the culture within, an urban community that you want to represent and speak up for.”\u003c/p>\n\u003cp>According to Amend, Spie plays a unique role within the crew. “He doesn’t get enough credit on how influential he’s been in the Bay Area for multiple generations. As far as TDK goes, I think he’s the main guy who would push Mike Dream, to push the crew to go into that whole social justice point of view, speaking up for … people in the community.”\u003c/p>\n\u003cp>“This was the ‘Fight the Power’ era,” Spie recalls — a time when hip-hop often felt like a political movement, and rappers like Public Enemy and KRS-One pushed the envelope of sociopolitical commentary in pop culture. For Spie, it was a no-brainer to contribute visually, and inspire others to do the same. There were many causes to join: reproductive rights, opposing anti-immigration laws, protesting LAPD’s beating of Rodney King, pushing back against the Gulf War and resisting the 500-year anniversary of Columbus’ “discovery” of America in 1992.\u003c/p>\n\u003cp>“It was a great time of awareness,” Spie says. “I was very much in a learning mode of being aware of the Native struggle and needing to [let people] know that we are occupying Native peoples’ territories.”\u003c/p>\n\u003cfigure id=\"attachment_13926719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-800x580.jpg\" alt=\"\" width=\"800\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-1536x1114.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy.jpg 1783w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s ‘Solidarity’ was commissioned by the Oakland Museum of California for the exhibition ‘Respect: Style and Wisdom of Hip-Hop’ in 2018. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>No justice, just us\u003c/h2>\n\u003cp>As political graffiti proliferated in the Bay Area, a January 1993 exhibition at Oakland’s Pro Arts gallery titled \u003cem>No Justice No Peace\u003c/em> became the first local gallery show to feature the artform. Eastside Arts Alliance co-founder Greg Morozumi organized it during the Rodney King protests, which raised profound questions about police accountability. The exhibition, Spie says, was a “proverbial middle finger” against the system.\u003c/p>\n\u003cp>To enter the gallery, attendees had to walk over an American flag. “That was the welcome mat,” Spie says. Inside, viewers were greeted by paintings by Spie, Dream, Krash, Dug-1 and Refa One — most of which questioned the authority of law enforcement while reinforcing community resilience. Spie and Dream’s “No Justice” paid tribute to Jesse “Plan-B” Hall, an \u003ca href=\"https://youtu.be/7-NYa6SDNP8\">emerging rapper who was murdered in a still-unsolved drive-by shooting\u003c/a> in Oakland’s Sobrante Park. Juxtaposed with a Krash painting of a porcine-faced police officer pointing a gun, the piece addressed the emotional toll of inner-city violence.\u003c/p>\n\u003cfigure id=\"attachment_13926659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-800x554.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-1536x1063.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93.jpg 1712w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A look inside the ‘No Justice, No Peace’ exhibition at ProArts in 1993. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1994, Dream and Spie painted an on-stage backdrop for KMEL’s annual Summer Jam concert. The show, headlined by Patti LaBelle, also featured locals E-40, Rappin’ 4-Tay, Tony! Toni! Toné! and A Lighter Shade of Brown, along with Public Enemy, OutKast and Queen Latifah. The backdrop proved that the duo weren’t always incendiary, with colorful letters spelling out “Respect” along with the message “peace follows.”\u003c/p>\n\u003cp>In 1995, Spie and Dream collaborated on one of their most unflinching murals: “Tax Dollars Kill.” The names of the artists appeared in typical graffiti wildstyle fashion; above them was a depiction of lightning striking the U.S. Capitol building. The symbolism was inescapable, especially because the mural’s title was rendered boldly above the signatures in white lettering, like a masthead.\u003c/p>\n\u003cp>Throughout their association, Spie and Dream would “always try to bring some kind of message … something poetic to be a part of what people were reading, as far as the painting goes. And that just kind of kept manifesting.”\u003c/p>\n\u003cfigure id=\"attachment_13926708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/IMG_6410-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A copy of a 1994 edition of the \u003ci>San Francisco Chronicle\u003c/i> saved by Spie One, showing Patti Labelle performing in front of his collaborative mural with Mike “Dream” Francisco. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to political influence, artist Cece Carpio, who calls Spie a mentor, maintains that he helped establish a Bay Area-identified lettering style. In the pre-internet days, she explains, graffiti was less ubiquitous and regions were often associated with specific styles. “Back then, the Bay Area letters got kind of curvy, just stylized lettering. I actually believe that’s something that the Bay Area started, and Spie was one of the pioneers who did that.”\u003c/p>\n\u003ch2>A controversial mural with a message\u003c/h2>\n\u003cp>While enrolled as an undergrad at San Francisco State University in 1996, Spie painted his first work with acrylic paint and brushes: a portrait of Malcolm X to commemorate the \u003ca href=\"https://www.kqed.org/bayareahiphop/timeline#third-world-liberation-front-paves-the-way-for-black-and-brown-unity\">1968 Third World Liberation Front student strike\u003c/a>, which resulted in the creation of one of the country’s first ethnic studies departments. Working in the mode of a traditional painter caused some apprehension and soul-searching for Spie.\u003c/p>\n\u003cp>“It was always just this back-and-forth around, ‘Are you staying true to this art form? Are you trying to do that other established thing that other people already consider art?’” he recalls. “That was something that I struggled with a lot of those years. But I think the Malcolm X piece really helped me to open up my own personal arts avenues much wider.”\u003c/p>\n\u003cp>Although the mural’s unveiling was a success (Spie got to meet Malcolm’s widow, Betty Shabazz, who came out for the event), the project had a long and controversial backstory.\u003c/p>\n\u003cp>An earlier version of the mural, painted by Oakland artist \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\">Refa One\u003c/a>, included a border with dollar bills, a burning American flag, and a Star of David. Needless to say, this did not go over well with the university, whose spokesperson \u003ca href=\"https://www.nytimes.com/1994/05/27/us/san-francisco-state-destroys-malcolm-x-mural-after-furor.html\">called the piece “hateful” in \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em>\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The school administration ordered the mural to be covered up, but a group of students reclaimed it with a bucket of water and soap, and camped out in front of the mural to protect it from further harm. In response, the school brought in a tactical unit in riot gear, aided by the SFPD, Spie recalls. Eventually, the mural was sandblasted over. “It was like they were assassinating Malcolm twice,” Spie says.\u003c/p>\n\u003cp>Two years later, the university put out another call for artists, and Spie was selected. Facing pressure from student activists, the school administration asked him to work with a Black artist, Kamau Ayubbi, a friend he knew from the 23rd Yard. The completed mural, still visible today, features two portraits of Malcolm X, with the African continent surrounding the United States, painted in black, in the background. It also includes a Malcolm X quote: “Our objective is complete freedom, justice, and equality By Any Means Necessary.”\u003c/p>\n\u003cfigure id=\"attachment_13926660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-2048x1460.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1920x1369.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie and Kama Ayubbo’s 1996 Malcolm X mural at San Francisco State University. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rebel without a pause\u003c/h2>\n\u003cp>In 2000, the unthinkable happened: Mike Dream was murdered in West Oakland. The still-unsolved killing deprived the Bay Area of its most legendary graffiti artist. “It was a devastating blow when he left this world. … So much of my own kind of self-actualization came through his guidance,” Spie \u003ca href=\"https://eastbayexpress.com/a-dream-continued-1/\">later told the \u003cem>East Bay Express\u003c/em>\u003c/a>. Spie and the TDK crew have kept Dream alive and in their hearts for the past 23 years, organizing a series of annual “Dream Day” events in Oakland \u003ca href=\"https://hiphopandpolitics.com/tag/mike-dream/\">beginning in 2010\u003c/a>, benefitting Dream’s son Akil.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cDp38sltic8'\n title='//www.youtube.com/embed/cDp38sltic8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rather than slow down, though, TDK remained active. Amend, Vogue and Stash all became widely known artists in their own right. Dream protege Marty Aranaydo, a.k.a. Meut TDK, a.k.a. DJ Willie Maze, furthered hip-hop activism through painting and as a member of socially conscious DJ collective Local 1200. Meanwhile, Spie soldiered on, earning a teaching credential and landing a job teaching art at a regional high school.\u003c/p>\n\u003cp>In the 2000s, a new generation of artist collectives emerged, building directly on Dream and Spie’s sociopolitical blueprint and the family values of TDK. \u003ca href=\"https://www.trustyourstruggle.org/\">Trust Your Struggle\u003c/a> member Carpio says Spie has gone out of his way to push her artistic efforts to the next level. And while \u003ca href=\"https://www.kqed.org/arts/13868732/cece-carpio\">Carpio’s work stands on its own\u003c/a>, Spie’s influence reflects in themes of Indigenous advocacy, resilience and racial solidarity.\u003c/p>\n\u003cp>The two recently painted a commemorative project at UC Berkeley honoring the Third World Liberation Front. The project, which has yet to be installed, features vibrant portraits of revolutionary icons Richard Aoki, June Jordan, Lehman Brightman, Ron Takaki and LaNada War Jack. According to Carpio, “what makes [Spie’s art] different in comparison to a lot of other graffiti and street art is his accountability to the movement and his accountability to the community.”\u003c/p>\n\u003cfigure id=\"attachment_13926661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-800x816.jpg\" alt=\"\" width=\"800\" height=\"816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-800x816.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1020x1040.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-768x783.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1506x1536.jpg 1506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1920x1958.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall.jpg 2006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2014’s ‘Key Tree,’ Spie’s contribution to Oakland’s Palestine Solidarity Wall, visualizes liberation of oppressed peoples. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spie has painted in New York, Los Angeles, Jamaica, Puerto Rico, Hawaii, Cuba, Costa Rica, Mexico and Portugal. Still, some of his most memorable work has been local. In 2007, he, Mike Ramos and H.O.M.E.Y. \u003ca href=\"https://digitalstories.famsf.org/teo/#teotihuacan-in-san-francisco\">painted\u003c/a> the mythical Aztec Feathered Serpent in the Mission. In 2014, he was one of 12 muralists who contributed to the “\u003ca href=\"https://artforces.org/projects/murals/usa/oakland-palestine-solidarity-mural/\">Oakland Palestine Solidarity Mural\u003c/a>” in Uptown.\u003c/p>\n\u003cp>In 2018, he manifested a solidarity-themed mural as part of the Oakland Museum’s first-ever hip-hop exhibit, and a ruby-throated hummingbird for environmental justice organization PODER. During the pandemic, he and several family members volunteered to paint the exterior of the Precita Eyes building. In 2021, during the George Floyd protests, he was one of the first artists to turn downtown Oakland into an outdoor art gallery. And in 2022, he painted a work entitled “\u003ca href=\"https://www.artspanart.org/eric-norberg-eai-summer-2022\">Serve the People\u003c/a>” on the window of Casa De Apoyo, a transitional housing resource center in the Excelsior.\u003c/p>\n\u003cp>As he’s become a more accomplished muralist, Spie has stayed true to his roots by including elements of graffiti even when working with other mediums. “I can remember that he started using acrylic paint with a brush to block in everything, and then he would do all the fine effects and details with the aerosol,” Cervantes says. “And that’s kind of what our youth arts program still does today.”\u003c/p>\n\u003cp>Throughout his storied career, Spie says he “always chose the side of the earth, the subjected and the oppressed. And, you know, what they like to say: the voice of the voiceless.”\u003c/p>\n\u003cfigure id=\"attachment_13926662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie and Cece Carpio collaborated on a tribute to the Third World Liberation Front and other revolutionary activists. Their work will be installed at UC Berkeley at a later date. \u003ccite>(Cece Carpio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TDK: The Dream Kontinues\u003c/h2>\n\u003cp>Spie can recount descriptive accounts of protests from decades past, but when asked about future projects, he simply sends over a link to YBCA’s recent “YBCA 100” celebration, with a visual art display by TDK Collective.\u003c/p>\n\u003cp>At the event, Spie held court on the venue’s second floor, dressed unassumingly in a Madow Futur jacket and \u003ca href=\"https://youtu.be/i5OX8pDTyow\">Bored Stiff\u003c/a> baseball hat. As he greeted attendees, including visual artist Agana and documentary filmmaker Eli Jacobs-Fantauzzi, a monitor played \u003cem>\u003ca href=\"https://www.kqed.org/artschool/52/bay-area-graffiti-the-early-days\">Bay Area Graffiti: The Early Years\u003c/a>\u003c/em>, followed by \u003cem>Style Wars\u003c/em>.\u003c/p>\n\u003cp>Art supplies were laid out on a table, along with various hardcover books on graffiti. Adjacent walls were decorated with TDK’s historical works: several Spie-Dream collaborations, including “Tax Dollars Kill,” and a tribute to the Rodney King uprisings that depicted an overturned police car, a colorful piece by Pak (R.I.P.), a tribute to Plan-B, and a late career piece by Dream. Several of Spie’s solo works were integrated, among them two vibrant “Spie” letterforms, linked by the word “vs.” (referencing the classic \u003cem>Mad\u003c/em> magazine cartoon “Spy vs. Spy”). The artist was clearly in his element.\u003c/p>\n\u003cp>Spie pulled out a binder he’d assembled, consisting of Dream’s pieces, sketches, quotes and airbrush work. The collection held serious gravitas; all that it needed to be included in a library alongside \u003cem>Spraycan Art\u003c/em>, \u003cem>Dondi White: Style Master General\u003c/em> and similar graffiti books was a hardcover binding and written essays.\u003c/p>\n\u003cp>Whatever the future holds – a comprehensive TDK retrospective, the publication of his Dream book or some other legacy project – Spie doesn’t reveal exact plans. It’s understandable, and completely in character, that after five decades as an artist, he seems to take satisfaction in maintaining his mystique, revealing only what he deems necessary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "poignant-graphic-novel-ephemera-explores-an-oakland-artists-lonely-childhood",
"title": "Poignant Graphic Novel ‘Ephemera’ Explores an Oakland Artist’s Lonely Childhood",
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"headTitle": "Poignant Graphic Novel ‘Ephemera’ Explores an Oakland Artist’s Lonely Childhood | KQED",
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"content": "\u003cp>There is a profound yearning in Briana Loewinsohn’s new graphic novel \u003cem>Ephemera \u003c/em>that diligently creeps throughout, like so many vines in search of daylight. It’s a yearning that’s unspoken, lurking in empty corners and open fields. It’s present in small, desperate acts and silent scenes of isolation. That yearning provides a depth to the Oakland artist’s debut memoir that takes surface beauty and transforms it into something devastating.\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantagraphics.com/products/ephemera\">\u003cem>Ephemera\u003c/em>\u003c/a> (Fantagraphics; $24.99) is the story of Loewinsohn’s childhood, of growing up with a mentally ill, neglectful mother who would disappear for extended periods, leaving Loewinsohn and her brother unattended. The author turned to nature for comfort, embracing tree branches, grass blades and potted plants when there was nothing to hold onto at home.\u003c/p>\n\u003cfigure id=\"attachment_13926139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png\" alt=\"An illustration depicts a small girl lying on a tree branch. A caption above her reads 'Feeling your absence.'\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1020x599.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-768x451.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1536x902.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM.png 1794w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nature and trees appear as a source of comfort in ‘Ephemera.’ \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Told from the perspective of the adult Loewinsohn as she returns to her childhood home in Berkeley to tend to the gardens there, the story distinguishes between the artist’s past and present using subdued but distinct color palettes. Her past is brought to life in blues and grays, emphasizing the coldness of the family home and the haze inherent to memories. Her present is tinged with reds, oranges and browns, like a new dawn, albeit one still contained in half-light.\u003c/p>\n\u003cp>[aside postid='arts_13923268']The vegetation around Loewinsohn is a reflection of her past, her present and her desire to heal. (“Sometimes,” Loewinsohn notes at one point, “I worry about the plants that grow alone.”) In tending to her childhood gardens in the present day, Loewinsohn is repaying the living things that nurtured her as a child. But she’s also honoring her absent mother, who took better care of the plants in her care than the children.\u003c/p>\n\u003cp>Loewinsohn shares restrained but sometimes agonizing realizations about how little love can sustain living things. “A little water can go a long way,” she notes after reviving one potted plant that appeared close to death.\u003c/p>\n\u003cfigure id=\"attachment_13926138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png\" alt=\"An illustration showing a small girl curled up alone in a large bed, surrounded on all side by giant flowers and vines. \" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1020x672.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1536x1012.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM.png 1724w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The young Loewinsohn curled up in her mother’s bed, seeking comfort. \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What makes \u003cem>Ephemera\u003c/em> extra-special is that it’s an almost wordless meditation. That quietude emphasizes the loneliness of Loewinsohn’s childhood in a manner that is frequently heart-wrenching. (I don’t remember a graphic novel that has ever made me cry as much as this one did.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Helpfully, there is much grace and optimism here too — particularly in the understanding that beautiful things may still grow out of shadows. For that, and many other reasons, \u003cem>Ephemera\u003c/em> is an unusual and profoundly moving work.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.fantagraphics.com/collections/new-this-month/products/ephemera\">‘Ephemera’ publishes March 21\u003c/a> via Fantagraphics Books. Loewinsohn will read and appear in conversation with graphic novelist Thien Pham at 7 p.m. on March 21 at Mrs. Dalloway’s Literary and Garden Arts in Berkeley. \u003ca href=\"https://www.eventbrite.com/e/briana-loewinsohn-in-store-launch-for-her-new-graphic-novel-ephemera-tickets-541707962097\">Details here\u003c/a>. Loewinsohn will also be in conversation with Gene Luen Yang and doing a book signing at Green Apple Books in San Francisco at 7 p.m. on March 27. \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-briana-loewinsohn-gene-luen-yang\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a profound yearning in Briana Loewinsohn’s new graphic novel \u003cem>Ephemera \u003c/em>that diligently creeps throughout, like so many vines in search of daylight. It’s a yearning that’s unspoken, lurking in empty corners and open fields. It’s present in small, desperate acts and silent scenes of isolation. That yearning provides a depth to the Oakland artist’s debut memoir that takes surface beauty and transforms it into something devastating.\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantagraphics.com/products/ephemera\">\u003cem>Ephemera\u003c/em>\u003c/a> (Fantagraphics; $24.99) is the story of Loewinsohn’s childhood, of growing up with a mentally ill, neglectful mother who would disappear for extended periods, leaving Loewinsohn and her brother unattended. The author turned to nature for comfort, embracing tree branches, grass blades and potted plants when there was nothing to hold onto at home.\u003c/p>\n\u003cfigure id=\"attachment_13926139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png\" alt=\"An illustration depicts a small girl lying on a tree branch. A caption above her reads 'Feeling your absence.'\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1020x599.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-768x451.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1536x902.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM.png 1794w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nature and trees appear as a source of comfort in ‘Ephemera.’ \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Told from the perspective of the adult Loewinsohn as she returns to her childhood home in Berkeley to tend to the gardens there, the story distinguishes between the artist’s past and present using subdued but distinct color palettes. Her past is brought to life in blues and grays, emphasizing the coldness of the family home and the haze inherent to memories. Her present is tinged with reds, oranges and browns, like a new dawn, albeit one still contained in half-light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The vegetation around Loewinsohn is a reflection of her past, her present and her desire to heal. (“Sometimes,” Loewinsohn notes at one point, “I worry about the plants that grow alone.”) In tending to her childhood gardens in the present day, Loewinsohn is repaying the living things that nurtured her as a child. But she’s also honoring her absent mother, who took better care of the plants in her care than the children.\u003c/p>\n\u003cp>Loewinsohn shares restrained but sometimes agonizing realizations about how little love can sustain living things. “A little water can go a long way,” she notes after reviving one potted plant that appeared close to death.\u003c/p>\n\u003cfigure id=\"attachment_13926138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png\" alt=\"An illustration showing a small girl curled up alone in a large bed, surrounded on all side by giant flowers and vines. \" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1020x672.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1536x1012.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM.png 1724w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The young Loewinsohn curled up in her mother’s bed, seeking comfort. \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What makes \u003cem>Ephemera\u003c/em> extra-special is that it’s an almost wordless meditation. That quietude emphasizes the loneliness of Loewinsohn’s childhood in a manner that is frequently heart-wrenching. (I don’t remember a graphic novel that has ever made me cry as much as this one did.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Helpfully, there is much grace and optimism here too — particularly in the understanding that beautiful things may still grow out of shadows. For that, and many other reasons, \u003cem>Ephemera\u003c/em> is an unusual and profoundly moving work.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.fantagraphics.com/collections/new-this-month/products/ephemera\">‘Ephemera’ publishes March 21\u003c/a> via Fantagraphics Books. Loewinsohn will read and appear in conversation with graphic novelist Thien Pham at 7 p.m. on March 21 at Mrs. Dalloway’s Literary and Garden Arts in Berkeley. \u003ca href=\"https://www.eventbrite.com/e/briana-loewinsohn-in-store-launch-for-her-new-graphic-novel-ephemera-tickets-541707962097\">Details here\u003c/a>. Loewinsohn will also be in conversation with Gene Luen Yang and doing a book signing at Green Apple Books in San Francisco at 7 p.m. on March 27. \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-briana-loewinsohn-gene-luen-yang\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How The Woks of Life Helped a New Generation of Chinese Americans Learn to Cook",
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"content": "\u003cp>[dropcap]F[/dropcap]or the first 18 years of my life, my mom cooked Chinese food every day — a couple of homey stir-fries, a whole steamed fish, a pot of white rice, all served family-style. She rarely even glanced at a recipe.\u003c/p>\n\u003cp>But when it came time for me to teach myself how to cook, I didn’t ask my mom for help. Instead, like so many young people who came of age in the ‘90s and early 2000s, I turned to the Food Network and the online recipes of the early internet. I bought three Jamie Oliver cookbooks. And by the time I started my own family, I was making coq au vin for fun on the weekends and could cook a mean risotto. What I didn’t really know how to cook at all, however, was Chinese food.\u003c/p>\n\u003cp>Part of the problem was that I only knew how to cook by following recipes. And up until maybe five or 10 years ago, the number of English-language recipes for Chinese dishes you could find in a cookbook or on the internet still felt extremely limited — at least when it came to homey, everyday recipes written with a younger Chinese American audience in mind.\u003c/p>\n\u003cp>That was the experience, too, for sisters Sarah and Kaitlin Leung, co-authors — along with their parents, Bill and Judy — of \u003ca href=\"https://thewoksoflife.com/the-woks-of-life-cookbook-now-available/\">\u003ci>The Woks of Life\u003c/i>\u003c/a>, a new Chinese American cookbook published this past November, based on the Leungs’ popular blog of the same name. Their book tour will arrive in the Bay Area on Saturday, Feb. 11, with the two sisters appearing at events at Omnivore Books in San Francisco and the main branch of the Berkeley Public Library.\u003c/p>\n\u003cfigure id=\"attachment_13925003\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/COVER_Woks-of-Life.jpg\" alt=\"Cover of The Woks of Life cookbook shows a bowl of spicy wontons against a red backdrop.\" width=\"1920\" height=\"2392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-800x997.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-1020x1271.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-768x957.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-1233x1536.jpg 1233w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-1644x2048.jpg 1644w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cookbook version of the blog was published by Clarkson Potter this past November. \u003ccite>(Courtesy of Clarkson Potter/Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We learned to cook from Rachael Ray and Ina Garten and Giada DeLaurentiis,” Sarah recalls. “But we learned to \u003ci>eat \u003c/i>from our parents.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like so many other ABCs (American-born Chinese) and younger first- and second-generation Chinese immigrants, the Leung sisters reached a point in their adult lives when they started to crave the food they’d grown up on, but found it really difficult to learn how to prepare it. There was such a “representation gap,” as Sarah puts it, in terms of what kinds of cuisines were prominently featured in those early days of TV celebrity chefs and the emerging food blogosphere.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Sarah Leung\"]“We learned to cook from Rachael Ray and Ina Garten and Giada DeLaurentiis. But we learned to \u003ci>eat \u003c/i>from our parents.”[/pullquote]\u003c/span>As it turns out, though, the Leung sisters were uniquely positioned to do something about it: Bill, their father, had spent years cranking out beef and broccoli at his family’s Chinese American takeout restaurant in the Catskills in New York. Judy, their mom, was born and raised in Shanghai and had deep knowledge about traditional Shanghainese cooking. Meanwhile, the two sisters had grown up in the New Jersey suburbs, eating their parents’ food, but also immersed in America’s own food-obsessed culture.\u003c/p>\n\u003cp>So, in 2013, the Leungs did what so many young people did at that time: They started a food blog. What differentiated \u003ca href=\"https://thewoksoflife.com/\">The Woks of Life\u003c/a> from other blogs was that the intergenerational transfer of knowledge that the Leungs were so eager for was baked right into the concept: The four family members took turns posting recipes, each sharing their own favorites, tapping into their own areas of expertise. In that way, Sarah says, the blog reflected — and continues to reflect — the diversity of the Chinese diaspora.\u003c/p>\n\u003cfigure id=\"attachment_13925005\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2.jpg\" alt=\"A family photo of a Chinese American family taken during the 1990s. A father, mother and two daughters sit at the dinner table.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Leungs at dinner time in a family photo taken during the 1990s. \u003ccite>(Courtesy of The Woks of Life)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Woks of Life was one of the forerunners of a new generation of food blogs that started around that time — along with \u003ca href=\"https://www.maangchi.com/\">Maangchi\u003c/a> (for Korean food) and \u003ca href=\"https://www.kqed.org/arts/13920714/just-one-cookbook-japanese-recipe-food-blog-namiko-chen\">Just One Cookbook\u003c/a> (Japanese) — all geared, to a large extent, toward Asian Americans looking to reconnect with the food of their heritage.\u003c/p>\n\u003cp>I was in that exact target demographic: I wanted to learn how to cook Chinese food like my mom, but she was never in the habit of writing down recipes or giving precise measurements. Then, four or five years ago, I started coming across Woks of Life recipes on the regular. Their recipe for \u003ca href=\"https://thewoksoflife.com/steamed-pork-patty-preserved-vegetables/\">steamed pork patty\u003c/a> was the closest thing I found on the English-language internet to a dish my grandma always made for me when I was a kid. Their \u003ca href=\"https://thewoksoflife.com/taiwanese-beef-noodle-soup-instant-pot/\">Instant Pot Taiwanese beef noodle soup\u003c/a> recipe was such a resounding hit with my entire family, I basically gave up on trying to find an adequate restaurant version here in the Bay. (To show off the richness of regional Chinese cuisine, the blog has expanded far beyond just Shanghainese and Americanized Chinese dishes — and it now features dishes from Taiwan, Malaysia and Macau as well.)\u003c/p>\n\u003cp>Stories like mine are why the Leungs have kept the blog going for all these years. “We’re getting this incredible feedback,” Sarah says. “For us collectively, especially my mom, she feels like we’re doing this as a public service so that these recipes don’t get lost.”\u003c/p>\n\u003cfigure id=\"attachment_13925006\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TWOL-Dumplings.jpg\" alt=\"A plate of boiled dumplings drizzled with red chili oil.\" width=\"1920\" height=\"2421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-1020x1286.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-768x968.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-1218x1536.jpg 1218w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-1624x2048.jpg 1624w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dumplings drizzled with the now-famous Woks of Life chili oil. \u003ccite>(Courtesy of The Woks of Life)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaitlin stresses that The Woks of Life follows a long line of trailblazers — folks like Joyce Chen, Martin Yan and Ming Tsai, who first started to bring Chinese home cooking into the mainstream in the U.S. “We feel proud that we have made a meaningful mark over the past decade, shedding a light that there’s a huge demand for these recipes,” she says. “It’s about representation, yes, but there’s also a huge demand.”\u003c/p>\n\u003cp>[aside postID='arts_13920714,arts_13910817,arts_13904835']Five years ago, you wouldn’t have been able to find a ton of Chinese recipes in the \u003ci>New York Times \u003c/i>food section, Kaitlin notes. Now you can. She says the clearest example of that shift is the popularity of the Woks of Life recipe for Chinese-style \u003ca href=\"https://thewoksoflife.com/how-to-make-chili-oil/\">chili oil\u003c/a>. In 2015, when Kaitlin first posted that recipe, if you Googled “chili oil,” the top search result was a Giada De Laurentiis recipe for Calabrian chili oil. Now, the Woks of Life recipe is the top result. And more than that, she says, the American public’s idea of chili oil has changed to the point that now, for a lot of Americans — maybe even \u003ci>most \u003c/i>Americans — the first thing they think of is something you might use as a dipping sauce for dumplings.\u003c/p>\n\u003cp>“These dishes are becoming more part of the American consciousness,” Sarah says. “I think that’s a great thing. There’s a little bit more diversity out there on the internet.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Kaitlin and Sarah Leung will give a presentation on the Woks of Life cookbook — and the blog’s role in cultivating Chinese cooking in America — at the \u003ca href=\"https://www.berkeleypubliclibrary.org/events/author-talk-woks-life-centralmr\">main branch of the Berkeley Public Library\u003c/a> (2090 Kittredge St.) on Saturday, Feb. 11, from 10:30 a.m.–12:30 p.m. On the same day, they’ll do a book talk and Q&A session at San Francisco’s \u003ca href=\"https://omnivorebooks.myshopify.com/collections/events/products/author-event-sat-feb-11-bill-leung-kaitlin-leung-judy-leung-sarah-leung-the-woks-of-life-recipes-to-know-and-love-from-a-chinese-american-family-3-00-p-m-free-to-attend-the-price-listed-is-for-the-book\">Omnivore Books on Food\u003c/a> (3885 Cesar Chavez St.) starting at 3 p.m. Both events are free and open to the public and will include book signings afterwards.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>or the first 18 years of my life, my mom cooked Chinese food every day — a couple of homey stir-fries, a whole steamed fish, a pot of white rice, all served family-style. She rarely even glanced at a recipe.\u003c/p>\n\u003cp>But when it came time for me to teach myself how to cook, I didn’t ask my mom for help. Instead, like so many young people who came of age in the ‘90s and early 2000s, I turned to the Food Network and the online recipes of the early internet. I bought three Jamie Oliver cookbooks. And by the time I started my own family, I was making coq au vin for fun on the weekends and could cook a mean risotto. What I didn’t really know how to cook at all, however, was Chinese food.\u003c/p>\n\u003cp>Part of the problem was that I only knew how to cook by following recipes. And up until maybe five or 10 years ago, the number of English-language recipes for Chinese dishes you could find in a cookbook or on the internet still felt extremely limited — at least when it came to homey, everyday recipes written with a younger Chinese American audience in mind.\u003c/p>\n\u003cp>That was the experience, too, for sisters Sarah and Kaitlin Leung, co-authors — along with their parents, Bill and Judy — of \u003ca href=\"https://thewoksoflife.com/the-woks-of-life-cookbook-now-available/\">\u003ci>The Woks of Life\u003c/i>\u003c/a>, a new Chinese American cookbook published this past November, based on the Leungs’ popular blog of the same name. Their book tour will arrive in the Bay Area on Saturday, Feb. 11, with the two sisters appearing at events at Omnivore Books in San Francisco and the main branch of the Berkeley Public Library.\u003c/p>\n\u003cfigure id=\"attachment_13925003\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/COVER_Woks-of-Life.jpg\" alt=\"Cover of The Woks of Life cookbook shows a bowl of spicy wontons against a red backdrop.\" width=\"1920\" height=\"2392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-800x997.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-1020x1271.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-768x957.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-1233x1536.jpg 1233w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/COVER_Woks-of-Life-1644x2048.jpg 1644w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cookbook version of the blog was published by Clarkson Potter this past November. \u003ccite>(Courtesy of Clarkson Potter/Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We learned to cook from Rachael Ray and Ina Garten and Giada DeLaurentiis,” Sarah recalls. “But we learned to \u003ci>eat \u003c/i>from our parents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like so many other ABCs (American-born Chinese) and younger first- and second-generation Chinese immigrants, the Leung sisters reached a point in their adult lives when they started to crave the food they’d grown up on, but found it really difficult to learn how to prepare it. There was such a “representation gap,” as Sarah puts it, in terms of what kinds of cuisines were prominently featured in those early days of TV celebrity chefs and the emerging food blogosphere.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>As it turns out, though, the Leung sisters were uniquely positioned to do something about it: Bill, their father, had spent years cranking out beef and broccoli at his family’s Chinese American takeout restaurant in the Catskills in New York. Judy, their mom, was born and raised in Shanghai and had deep knowledge about traditional Shanghainese cooking. Meanwhile, the two sisters had grown up in the New Jersey suburbs, eating their parents’ food, but also immersed in America’s own food-obsessed culture.\u003c/p>\n\u003cp>So, in 2013, the Leungs did what so many young people did at that time: They started a food blog. What differentiated \u003ca href=\"https://thewoksoflife.com/\">The Woks of Life\u003c/a> from other blogs was that the intergenerational transfer of knowledge that the Leungs were so eager for was baked right into the concept: The four family members took turns posting recipes, each sharing their own favorites, tapping into their own areas of expertise. In that way, Sarah says, the blog reflected — and continues to reflect — the diversity of the Chinese diaspora.\u003c/p>\n\u003cfigure id=\"attachment_13925005\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2.jpg\" alt=\"A family photo of a Chinese American family taken during the 1990s. A father, mother and two daughters sit at the dinner table.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-90sFamilyPhoto2-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Leungs at dinner time in a family photo taken during the 1990s. \u003ccite>(Courtesy of The Woks of Life)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Woks of Life was one of the forerunners of a new generation of food blogs that started around that time — along with \u003ca href=\"https://www.maangchi.com/\">Maangchi\u003c/a> (for Korean food) and \u003ca href=\"https://www.kqed.org/arts/13920714/just-one-cookbook-japanese-recipe-food-blog-namiko-chen\">Just One Cookbook\u003c/a> (Japanese) — all geared, to a large extent, toward Asian Americans looking to reconnect with the food of their heritage.\u003c/p>\n\u003cp>I was in that exact target demographic: I wanted to learn how to cook Chinese food like my mom, but she was never in the habit of writing down recipes or giving precise measurements. Then, four or five years ago, I started coming across Woks of Life recipes on the regular. Their recipe for \u003ca href=\"https://thewoksoflife.com/steamed-pork-patty-preserved-vegetables/\">steamed pork patty\u003c/a> was the closest thing I found on the English-language internet to a dish my grandma always made for me when I was a kid. Their \u003ca href=\"https://thewoksoflife.com/taiwanese-beef-noodle-soup-instant-pot/\">Instant Pot Taiwanese beef noodle soup\u003c/a> recipe was such a resounding hit with my entire family, I basically gave up on trying to find an adequate restaurant version here in the Bay. (To show off the richness of regional Chinese cuisine, the blog has expanded far beyond just Shanghainese and Americanized Chinese dishes — and it now features dishes from Taiwan, Malaysia and Macau as well.)\u003c/p>\n\u003cp>Stories like mine are why the Leungs have kept the blog going for all these years. “We’re getting this incredible feedback,” Sarah says. “For us collectively, especially my mom, she feels like we’re doing this as a public service so that these recipes don’t get lost.”\u003c/p>\n\u003cfigure id=\"attachment_13925006\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TWOL-Dumplings.jpg\" alt=\"A plate of boiled dumplings drizzled with red chili oil.\" width=\"1920\" height=\"2421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-1020x1286.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-768x968.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-1218x1536.jpg 1218w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TWOL-Dumplings-1624x2048.jpg 1624w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dumplings drizzled with the now-famous Woks of Life chili oil. \u003ccite>(Courtesy of The Woks of Life)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaitlin stresses that The Woks of Life follows a long line of trailblazers — folks like Joyce Chen, Martin Yan and Ming Tsai, who first started to bring Chinese home cooking into the mainstream in the U.S. “We feel proud that we have made a meaningful mark over the past decade, shedding a light that there’s a huge demand for these recipes,” she says. “It’s about representation, yes, but there’s also a huge demand.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Five years ago, you wouldn’t have been able to find a ton of Chinese recipes in the \u003ci>New York Times \u003c/i>food section, Kaitlin notes. Now you can. She says the clearest example of that shift is the popularity of the Woks of Life recipe for Chinese-style \u003ca href=\"https://thewoksoflife.com/how-to-make-chili-oil/\">chili oil\u003c/a>. In 2015, when Kaitlin first posted that recipe, if you Googled “chili oil,” the top search result was a Giada De Laurentiis recipe for Calabrian chili oil. Now, the Woks of Life recipe is the top result. And more than that, she says, the American public’s idea of chili oil has changed to the point that now, for a lot of Americans — maybe even \u003ci>most \u003c/i>Americans — the first thing they think of is something you might use as a dipping sauce for dumplings.\u003c/p>\n\u003cp>“These dishes are becoming more part of the American consciousness,” Sarah says. “I think that’s a great thing. There’s a little bit more diversity out there on the internet.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Kaitlin and Sarah Leung will give a presentation on the Woks of Life cookbook — and the blog’s role in cultivating Chinese cooking in America — at the \u003ca href=\"https://www.berkeleypubliclibrary.org/events/author-talk-woks-life-centralmr\">main branch of the Berkeley Public Library\u003c/a> (2090 Kittredge St.) on Saturday, Feb. 11, from 10:30 a.m.–12:30 p.m. On the same day, they’ll do a book talk and Q&A session at San Francisco’s \u003ca href=\"https://omnivorebooks.myshopify.com/collections/events/products/author-event-sat-feb-11-bill-leung-kaitlin-leung-judy-leung-sarah-leung-the-woks-of-life-recipes-to-know-and-love-from-a-chinese-american-family-3-00-p-m-free-to-attend-the-price-listed-is-for-the-book\">Omnivore Books on Food\u003c/a> (3885 Cesar Chavez St.) starting at 3 p.m. Both events are free and open to the public and will include book signings afterwards.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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