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"content": "\u003cp>It’s official: Café du Nord will return to its former glory days as a rock venue, jettisoning its more recent identity as a high-end restaurant and cocktail bar.\u003c/p>\n\u003cp>Local food and football blogger \u003ca href=\"https://www.thrillist.com/authors/daisy-barringer\" target=\"_blank\" rel=\"noopener\">Daisy Barringer\u003c/a> broke the news two weeks ago on Twitter, noting that “the entire staff was let go and replaced.”\u003c/p>\n\u003cp>“It will be a club for live [music]. They knocked out a wall already. They have to keep selling food bc of the way their liquor license works,” Barringer \u003ca href=\"https://twitter.com/daisy/status/852207406113107969\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> on April 12.\u003c/p>\n\u003cp>Café du Nord’s owner, Dylan MacNiven, has since confirmed the changes to websites such as \u003ca href=\"http://hoodline.com/2017/04/cafe-du-nord-on-market-street-to-transition-back-to-full-fledged-music-venue\" target=\"_blank\" rel=\"noopener\">Hoodline\u003c/a> and \u003ca href=\"http://brokeassstuart.com/blog/2017/04/24/cafe-du-nord-to-become-a-music-venue-once-again/\" target=\"_blank\" rel=\"noopener\">Broke Ass Stuart\u003c/a>. MacNiven said that the conversion would be occurring over the next few weeks.\u003c/p>\n\u003cp>“More details will be ready when the full picture is in place,” MacNiven told Hoodline.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before becoming a reservation-only dining establishment known for serving one of the \u003ca href=\"http://sfist.com/2016/10/27/the_tk_best_burgers_in_sf_and_oakla.php\" target=\"_blank\" rel=\"noopener\">best hamburgers in San Francisco\u003c/a>, the Café du Nord was a popular mid-size music venue that hosted bands such as Thee Oh Sees, Sic Alps and Frightwig. In 2015, the building came into MacNiven’s possession, and a partnership with Ne Timeas Restaurant Group led to the club’s transformation into Du Nord, the restaurant.\u003c/p>\n\u003cp>After the announcement of Café du Nord conversion, there was uproar in the local music scene over the decision to stop booking loud rock bands there. The new owners promised that there would still be music, but it would be much quieter jazz and blues groups.\u003c/p>\n\u003cp>“If the goal was to go polar opposite and turn nearly everyone off who has lived in San Francisco longer than 2 years, well done Ne Timeas Restaurant Group!,” Annie Southworth, a local music promoter, commented on Facebook after the restaurant’s re-opening.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The building that houses the Café du Nord was originally built in 1907. MacNiven also owns the live venue above Café du Nord, the Swedish American Music Hall, which is booked by Noise Pop. It is unclear if Noise Pop will also book the basement rock venue once its renovations are complete.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s official: Café du Nord will return to its former glory days as a rock venue, jettisoning its more recent identity as a high-end restaurant and cocktail bar.\u003c/p>\n\u003cp>Local food and football blogger \u003ca href=\"https://www.thrillist.com/authors/daisy-barringer\" target=\"_blank\" rel=\"noopener\">Daisy Barringer\u003c/a> broke the news two weeks ago on Twitter, noting that “the entire staff was let go and replaced.”\u003c/p>\n\u003cp>“It will be a club for live [music]. They knocked out a wall already. They have to keep selling food bc of the way their liquor license works,” Barringer \u003ca href=\"https://twitter.com/daisy/status/852207406113107969\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> on April 12.\u003c/p>\n\u003cp>Café du Nord’s owner, Dylan MacNiven, has since confirmed the changes to websites such as \u003ca href=\"http://hoodline.com/2017/04/cafe-du-nord-on-market-street-to-transition-back-to-full-fledged-music-venue\" target=\"_blank\" rel=\"noopener\">Hoodline\u003c/a> and \u003ca href=\"http://brokeassstuart.com/blog/2017/04/24/cafe-du-nord-to-become-a-music-venue-once-again/\" target=\"_blank\" rel=\"noopener\">Broke Ass Stuart\u003c/a>. MacNiven said that the conversion would be occurring over the next few weeks.\u003c/p>\n\u003cp>“More details will be ready when the full picture is in place,” MacNiven told Hoodline.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Creating radical visibility — for artists of color, queer artists, undocumented artists — is hard work. And people doing hard work need to eat well. Over chilaquiles, a traditional Mexican dish of fried corn tortillas covered in sauce and queso fresco, \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> co-founder \u003ca href=\"http://favianna.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Favianna Rodriguez\u003c/a> and queer undocumented artist and cartoonist \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener\">Julio Salgado\u003c/a> dish out more than just a delicious meal.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“The entire ecosystem of the arts does not have enough of us in it,” Rodriguez says of artists of color. “It’s not just about being represented, it’s about us having real power.”\u003c/p>\n\u003cp>For Salgado, whose work is informed by his various identities, but not defined by them, the current political climate makes him question his decision to be out — both as a queer man and an undocumented immigrant. But, he says, “The artist in me is like, ‘No.’”\u003c/p>\n\u003cp>“We definitely need to have stories — especially now,” Rodriguez says “of joy and pleasure and just our complicated humanity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So cook up some chilaquiles with your friends and loved ones, tell stories of joy and pleasure and buen provecho!\u003c/p>\n\u003ch3>Favi and Julio’s Chilaquiles and Kale Salad\u003c/h3>\n\u003cp>\u003cstrong>Cook time:\u003c/strong> 15 minutes\u003c/p>\n\u003cp>\u003cstrong>Ingredients:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>onions\u003c/li>\n\u003cli>corn tortillas\u003c/li>\n\u003cli>olive oil\u003c/li>\n\u003cli>tomato sauce\u003c/li>\n\u003cli>queso fresco\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Salad directions:\u003c/strong> Mix miso, olive oil, rice vinegar and soy sauce together for the dressing, add to kale salad and let it sit to soften the leaves.\u003c/p>\n\u003cp>\u003cstrong>Chilaquiles directions:\u003c/strong> Cut the onions and saute them in oil. Add more oil, cut the tortillas into quarters and fry them to taste. (Rodriguez recommends “a little soft and a little crispy.”) Add the tomato sauce (or red or green salsa, or mole), stir and serve. Top with queso fresco and as Rodriguez says, “Boom you got chilaquiles!”\u003c/p>\n\u003cp>\u003ci>Text by Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/represent-2?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So cook up some chilaquiles with your friends and loved ones, tell stories of joy and pleasure and buen provecho!\u003c/p>\n\u003ch3>Favi and Julio’s Chilaquiles and Kale Salad\u003c/h3>\n\u003cp>\u003cstrong>Cook time:\u003c/strong> 15 minutes\u003c/p>\n\u003cp>\u003cstrong>Ingredients:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>onions\u003c/li>\n\u003cli>corn tortillas\u003c/li>\n\u003cli>olive oil\u003c/li>\n\u003cli>tomato sauce\u003c/li>\n\u003cli>queso fresco\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Salad directions:\u003c/strong> Mix miso, olive oil, rice vinegar and soy sauce together for the dressing, add to kale salad and let it sit to soften the leaves.\u003c/p>\n\u003cp>\u003cstrong>Chilaquiles directions:\u003c/strong> Cut the onions and saute them in oil. Add more oil, cut the tortillas into quarters and fry them to taste. (Rodriguez recommends “a little soft and a little crispy.”) Add the tomato sauce (or red or green salsa, or mole), stir and serve. Top with queso fresco and as Rodriguez says, “Boom you got chilaquiles!”\u003c/p>\n\u003cp>\u003ci>Text by Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/represent-2?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Any Way You Slice it, Protest Cakes Make Politics a Bit Sweeter",
"headTitle": "Any Way You Slice it, Protest Cakes Make Politics a Bit Sweeter | KQED",
"content": "\u003cp>Two months into Donald J. Trump’s presidency, as new reasons to gather in solidarity and resistance arise almost daily, the sight of people carrying protest signs verges on the status quo. What you see less often on the way to a rally is someone carrying a cake.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The idea for \u003ca href=\"https://www.instagram.com/protestcakes/\" target=\"_blank\" rel=\"noopener\">Protest Cakes\u003c/a> came to Illinois-based \u003ca href=\"https://www.instagram.com/tessmariewilson/\" target=\"_blank\" rel=\"noopener\">Tess Wilson\u003c/a>, a former Blue Bottle pastry chef, in mid-air. En route to San Francisco on Jan. 28, the same weekend crowds of people gathered at airports across the country to protest President Trump’s first travel ban, Wilson wondered if she could bring her particular skills — making inventive thematic desserts — to the protest movement.\u003c/p>\n\u003cp>“It came in a flash,” Wilson says. “We could make cakes to serve at protests and express our displeasure in the best way we know how, while also nourishing the people fighting the good fight.” She just had to convince her old coworker and frequent collaborator, artist \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>, to join her.\u003c/p>\n\u003cp>Rosenberg’s answer was an immediate yes. “There was no time to spare,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12968154\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12968154 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986.jpg\" alt=\"Protest Cakes' "Seven Nations Cake," served at the San Francisco Civic Center "No Ban, No Wall" protest on Feb. 4. \" width=\"1080\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-520x359.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Protest Cakes’ “Seven Nations Cake,” served at the San Francisco Civic Center “No Ban, No Wall” protest on Feb. 4. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Protest Cakes made its debut a week later at the “No Ban, No Wall” rally at San Francisco’s Civic Center with the “Seven Nations Cake,” featuring ingredients from the countries subject to the initial travel ban. In \u003ca href=\"https://www.instagram.com/p/BQHO2lRFy2C/\" target=\"_blank\" rel=\"noopener\">one Instagram post\u003c/a>, the round cake (absent a hefty slice), sits on a table with a pastel-hued City Hall in the background. “Democracy is hungry work!” reads the caption.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilson and Rosenberg embrace the opportunity to bring comfort and levity to such gatherings. “I feel without cake and puns, what’s the reason to live?” Rosenberg says, pointing to a particularly groan-worthy example, the “I’m Peach Mint [Cake],” which she brought to the Feb. 11 Ocean Beach protest.\u003c/p>\n\u003cp>“Cake lets us do something,” Rosenberg says. “It’s this universal thing that people can access and experience.” But Protest Cakes goes beyond nourishment, incorporating the sober realities of G.O.P. policies — and the effects they have on ordinary Americans’ lives — into the very ingredient list of each cake.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BQYn2uKFF5P/?taken-by=protestcakes\">https://www.instagram.com/p/BQYn2uKFF5P/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>“There’s so many different ways that we can get information into cake,” says Rosenberg.\u003c/p>\n\u003cp>Case in point: the “Contraception Cake,” a buckwheat cake topped with buttercream frosting and “pills” arranged in the colorful circle of a monthly supply of oral birth control. Rosenberg made the cake with natural ingredients used by women around the world and throughout history before reliable contraceptives became available (a list that includes honey, wild carrot seeds, lemon and blue cohosh).\u003c/p>\n\u003cp>But did it taste good? “It was delicious!” says Rosenberg. She delivered one to the Valencia Street herb shop Scarlet Sage, where she sourced some of the ingredients, and presented the other to her roommate as a birthday cake.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BRtHElUAe_V/?taken-by=protestcakes\">https://www.instagram.com/p/BRtHElUAe_V/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>Other cakes act as a form of data visualization. In the video for the “\u003ca href=\"https://www.instagram.com/p/BR6NAB-g-f3/?taken-by=protestcakes\" target=\"_blank\" rel=\"noopener\">14 Million Sprinkles Cake\u003c/a>,” ten pounds of rainbow sprinkles rain down on an unassuming white cake. The name references the estimated increase of 14 million uninsured Americans in 2018 under the Republicans’ now-withdrawn American Health Care Act.\u003c/p>\n\u003cp>Cheeky hashtags accompany the post: “#itsactuallyonlyonemillionsprinkles #wehadtosaveourmoneyformedicine #justwatchthisvideofourteentimes.”\u003c/p>\n\u003cp>“The fact that this is only one million puts the numbers in perspective,” says Wilson. “And then you think, each one of those is a person whose health and life is affected.” She says making the cakes helps channel her anger and anxiety into a productive (and tasty) format.\u003c/p>\n\u003cp>“We found this way of expressing our dissent and I’m not sure where I would be without it,” she says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BR4PbwDgtIs/?taken-by=protestcakes\">https://www.instagram.com/p/BR4PbwDgtIs/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>For people still trying to find a way to bring their particular skills to the protest movement, Rosenberg and Wilson are encouraging.\u003c/p>\n\u003cp>“Right now is the best time to be vocal and active,” says Rosenberg.\u003c/p>\n\u003cp>“And to not get complacent,” Wilson adds. “What can you do as a citizen based on your resources?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>Follow \u003ca href=\"https://www.instagram.com/protestcakes/\" target=\"_blank\" rel=\"noopener\">Protest Cakes on Instagram\u003c/a> and look for them at your next Bay Area protest rally.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Friends and former Blue Bottle pastry chefs Tess Wilson and Leah Rosenberg use their inventive baking skills (and puns) to feed the resistance. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two months into Donald J. Trump’s presidency, as new reasons to gather in solidarity and resistance arise almost daily, the sight of people carrying protest signs verges on the status quo. What you see less often on the way to a rally is someone carrying a cake.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The idea for \u003ca href=\"https://www.instagram.com/protestcakes/\" target=\"_blank\" rel=\"noopener\">Protest Cakes\u003c/a> came to Illinois-based \u003ca href=\"https://www.instagram.com/tessmariewilson/\" target=\"_blank\" rel=\"noopener\">Tess Wilson\u003c/a>, a former Blue Bottle pastry chef, in mid-air. En route to San Francisco on Jan. 28, the same weekend crowds of people gathered at airports across the country to protest President Trump’s first travel ban, Wilson wondered if she could bring her particular skills — making inventive thematic desserts — to the protest movement.\u003c/p>\n\u003cp>“It came in a flash,” Wilson says. “We could make cakes to serve at protests and express our displeasure in the best way we know how, while also nourishing the people fighting the good fight.” She just had to convince her old coworker and frequent collaborator, artist \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>, to join her.\u003c/p>\n\u003cp>Rosenberg’s answer was an immediate yes. “There was no time to spare,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12968154\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12968154 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986.jpg\" alt=\"Protest Cakes' "Seven Nations Cake," served at the San Francisco Civic Center "No Ban, No Wall" protest on Feb. 4. \" width=\"1080\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-520x359.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Protest Cakes’ “Seven Nations Cake,” served at the San Francisco Civic Center “No Ban, No Wall” protest on Feb. 4. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Protest Cakes made its debut a week later at the “No Ban, No Wall” rally at San Francisco’s Civic Center with the “Seven Nations Cake,” featuring ingredients from the countries subject to the initial travel ban. In \u003ca href=\"https://www.instagram.com/p/BQHO2lRFy2C/\" target=\"_blank\" rel=\"noopener\">one Instagram post\u003c/a>, the round cake (absent a hefty slice), sits on a table with a pastel-hued City Hall in the background. “Democracy is hungry work!” reads the caption.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilson and Rosenberg embrace the opportunity to bring comfort and levity to such gatherings. “I feel without cake and puns, what’s the reason to live?” Rosenberg says, pointing to a particularly groan-worthy example, the “I’m Peach Mint [Cake],” which she brought to the Feb. 11 Ocean Beach protest.\u003c/p>\n\u003cp>“Cake lets us do something,” Rosenberg says. “It’s this universal thing that people can access and experience.” But Protest Cakes goes beyond nourishment, incorporating the sober realities of G.O.P. policies — and the effects they have on ordinary Americans’ lives — into the very ingredient list of each cake.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BQYn2uKFF5P/?taken-by=protestcakes\">https://www.instagram.com/p/BQYn2uKFF5P/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>“There’s so many different ways that we can get information into cake,” says Rosenberg.\u003c/p>\n\u003cp>Case in point: the “Contraception Cake,” a buckwheat cake topped with buttercream frosting and “pills” arranged in the colorful circle of a monthly supply of oral birth control. Rosenberg made the cake with natural ingredients used by women around the world and throughout history before reliable contraceptives became available (a list that includes honey, wild carrot seeds, lemon and blue cohosh).\u003c/p>\n\u003cp>But did it taste good? “It was delicious!” says Rosenberg. She delivered one to the Valencia Street herb shop Scarlet Sage, where she sourced some of the ingredients, and presented the other to her roommate as a birthday cake.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BRtHElUAe_V/?taken-by=protestcakes\">https://www.instagram.com/p/BRtHElUAe_V/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>Other cakes act as a form of data visualization. In the video for the “\u003ca href=\"https://www.instagram.com/p/BR6NAB-g-f3/?taken-by=protestcakes\" target=\"_blank\" rel=\"noopener\">14 Million Sprinkles Cake\u003c/a>,” ten pounds of rainbow sprinkles rain down on an unassuming white cake. The name references the estimated increase of 14 million uninsured Americans in 2018 under the Republicans’ now-withdrawn American Health Care Act.\u003c/p>\n\u003cp>Cheeky hashtags accompany the post: “#itsactuallyonlyonemillionsprinkles #wehadtosaveourmoneyformedicine #justwatchthisvideofourteentimes.”\u003c/p>\n\u003cp>“The fact that this is only one million puts the numbers in perspective,” says Wilson. “And then you think, each one of those is a person whose health and life is affected.” She says making the cakes helps channel her anger and anxiety into a productive (and tasty) format.\u003c/p>\n\u003cp>“We found this way of expressing our dissent and I’m not sure where I would be without it,” she says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BR4PbwDgtIs/?taken-by=protestcakes\">https://www.instagram.com/p/BR4PbwDgtIs/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>For people still trying to find a way to bring their particular skills to the protest movement, Rosenberg and Wilson are encouraging.\u003c/p>\n\u003cp>“Right now is the best time to be vocal and active,” says Rosenberg.\u003c/p>\n\u003cp>“And to not get complacent,” Wilson adds. “What can you do as a citizen based on your resources?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>Follow \u003ca href=\"https://www.instagram.com/protestcakes/\" target=\"_blank\" rel=\"noopener\">Protest Cakes on Instagram\u003c/a> and look for them at your next Bay Area protest rally.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Belva Davis on Maya Angelou, a True 'Shero,' and her Salad-Spinning Gift",
"headTitle": "Belva Davis on Maya Angelou, a True ‘Shero,’ and her Salad-Spinning Gift | KQED",
"content": "\u003cp>Watching Maya Angelou in her kitchen was almost as good as watching her on stage. In fact, she sometimes seemed more at ease chopping and mixing and creating in her kitchen than she did delivering lyrics or dialogue.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>She appeared to enjoy being a hostess far more than being a guest — a world apart from her good friend Decca Mitford, who was often seen walking through her own parties with a handbag on her arm and cigarette in her hand, pretending she was a guest.\u003c/p>\n\u003cp>Decca once told me, “it’s much more pleasant to be entertained, rather than to be expected to make others at ease.”\u003c/p>\n\u003cp>Occasionally Maya would concede to the guest role and accept her friends’ invitations to join them for dinner at their homes. It was during one of those rare times when she accepted our offer for dinner at our house. That was where the Salad Spinner story had its beginning. Many decades later, its conclusion is still elusive.\u003c/p>\n\u003cfigure id=\"attachment_12744493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-800x450.jpg\" alt=\"Belva Davis's former in Petaluma\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12744493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House.jpg 1806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belva Davis’s former home in Petaluma. \u003ccite>(Courtesy of Belva Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Country Home\u003c/h3>\n\u003cp>Maya and I were both living in Sonoma County, and experimenting with peace and quiet. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I loved our country home spread out over a few acres, and especially loved having my own garden. Most of all, I enjoyed and took great pride in harvesting my homegrown salad ingredients after our guests started to arrive.\u003c/p>\n\u003cp>I had learned most of what I knew about preparing food from my Aunt Pearline, who transferred her Louisiana skills to me. Tradition prevailed in her kitchen. Back home, you harvested your greens and other vegetables, washed them good, spread them out on a clean dish towel and patted them down with another dish cloth. That’s how you got rid of excess water and any other undesirables such as dirt or bugs.\u003c/p>\n\u003cp>Maya was in the family room, which was part of the kitchen, as we prepared dinner. Of course I hoped she would notice the freshness of the salad, but I didn’t call attention to it.\u003c/p>\n\u003cp>Everything going into the salad was washed and drained in bowls lined with cloth. Only then were they chopped, separated or broken down into bite-sized pieces. That was the way we had always done it, and I was proud of the tradition. I thought Maya, having lived in the south herself, would appreciate the custom.\u003c/p>\n\u003cp>But a few days after our dinner a large box arrived at our house. It was a gift from our cherished guest and her family, and inside was a strange item: two bowls, one with drainage holes all around it, nested inside a solid bowl, with a spinning top as a cover. \u003c/p>\n\u003cp>My husband Bill and I read the instructions. Still uncertain, I put some washed greens inside the inner bowl with the holes and added the spinner. I pushed down as hard as I could to make the spinner move. I pumped with all of my strength to make the center swirl and watched the liquid that had been attached to the leaves hit the wall and drain into the outer bowl. Then I realized I had to be careful, and not overdo it and bruise the leaves. They were the foundation for the mixture of vegetables of all colors and shapes and taste that would make the salad healthy. But the leaves would serve as a background for all the other colors and textures that create the “cornucopia” we call “salad.”\u003c/p>\n\u003cfigure id=\"attachment_12740803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-800x450.jpg\" alt=\"Maya Angelou and director Lee Daniels attend Dr. Maya Angelou's 82nd birthday party with friends and family at Angelou's home on May 20, 2010 in Winston-Salem, North Carolina.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12740803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maya Angelou and director Lee Daniels attend Dr. Maya Angelou’s 82nd birthday party with friends and family at Angelou’s home on May 20, 2010 in Winston-Salem, North Carolina. \u003ccite>( Photo: Steve Exum/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>More Than A Spinner\u003c/h3>\n\u003cp>I thought of the symbolism and how it reflected on Maya’s journey through life. Pumping the spinner and trying to get rid of the excessive water that drags all too many people down — that matched her vision and efforts to bring all of the stuff that is good for us together, in one place, to nourish and feed our hunger.\u003c/p>\n\u003cp>So often it takes just one person with a strong determination to drive a whole device, or a movement. The challenge is to make sure the person with the hand on the lever really cares about the fragile leaves she is whirling. To recognize that it’s the mixing of all the flavors, colors, and the textures, that result in a great, healthy and special dish.\u003c/p>\n\u003cp>As one who respects Maya’s passion and commitment to value all around us, I asked myself how can I cultivate a new vision of my own place in life?\u003c/p>\n\u003cp>How can I embrace a strong desire to soldier on with others, and accept that I am just one small part of the creation of something good? When will I accept the fact that my contribution will be to find satisfaction in being part of the solution?\u003c/p>\n\u003cp>The most important part of this rather simple ‘thank you gift story’ is envisioning a single person with power to push a lever that forces unwanted elements to go away. I do not want to know if she intended some sort of sublime message for me to acknowledge my own power — or simply wished me to make a better, healthier salad, with less exposure to germs. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rHWuSrCU_X0\u003c/p>\n\u003ch3>A Bigger Meaning\u003c/h3>\n\u003cp>What matters is my admiration and acknowledgment of her power and mine.\u003c/p>\n\u003cp>I think people like me are scattered all over the world. Treasuring our encounters and trying to live up to her ideals and expectations that we live our best lives.\u003c/p>\n\u003cp>During our last interview on KQED’s \u003cem>This Week in Northern California\u003c/em> back in 2012 (see above), I asked her why she had spent so much of her life reaching out and supporting others.\u003c/p>\n\u003cp>“I owe it to another person to say what I’ve learned. I’ve learned that it’s wise to take responsibility for the time you take up and space you occupy,” Angelou said. “I think that each one of us lives in direct relationship to the heroes and sheroes we have. Always and then always.”\u003c/p>\n\u003cp>Maya, so many of us have chosen you as our “shero” and embraced your vision of bringing people together. We agree that we need to be responsible for the space we occupy. Hopefully each of us will find a ‘salad spinner’ — an object or words that make us put our hands on the levers that trigger our imagination and move us to action.\u003c/p>\n\u003cp>Oh, how we need your spirit in our lives to get through the time in which we are living.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Watching Maya Angelou in her kitchen was almost as good as watching her on stage. In fact, she sometimes seemed more at ease chopping and mixing and creating in her kitchen than she did delivering lyrics or dialogue.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>She appeared to enjoy being a hostess far more than being a guest — a world apart from her good friend Decca Mitford, who was often seen walking through her own parties with a handbag on her arm and cigarette in her hand, pretending she was a guest.\u003c/p>\n\u003cp>Decca once told me, “it’s much more pleasant to be entertained, rather than to be expected to make others at ease.”\u003c/p>\n\u003cp>Occasionally Maya would concede to the guest role and accept her friends’ invitations to join them for dinner at their homes. It was during one of those rare times when she accepted our offer for dinner at our house. That was where the Salad Spinner story had its beginning. Many decades later, its conclusion is still elusive.\u003c/p>\n\u003cfigure id=\"attachment_12744493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-800x450.jpg\" alt=\"Belva Davis's former in Petaluma\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12744493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAvis-PEtaluma-House.jpg 1806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belva Davis’s former home in Petaluma. \u003ccite>(Courtesy of Belva Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Country Home\u003c/h3>\n\u003cp>Maya and I were both living in Sonoma County, and experimenting with peace and quiet. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I loved our country home spread out over a few acres, and especially loved having my own garden. Most of all, I enjoyed and took great pride in harvesting my homegrown salad ingredients after our guests started to arrive.\u003c/p>\n\u003cp>I had learned most of what I knew about preparing food from my Aunt Pearline, who transferred her Louisiana skills to me. Tradition prevailed in her kitchen. Back home, you harvested your greens and other vegetables, washed them good, spread them out on a clean dish towel and patted them down with another dish cloth. That’s how you got rid of excess water and any other undesirables such as dirt or bugs.\u003c/p>\n\u003cp>Maya was in the family room, which was part of the kitchen, as we prepared dinner. Of course I hoped she would notice the freshness of the salad, but I didn’t call attention to it.\u003c/p>\n\u003cp>Everything going into the salad was washed and drained in bowls lined with cloth. Only then were they chopped, separated or broken down into bite-sized pieces. That was the way we had always done it, and I was proud of the tradition. I thought Maya, having lived in the south herself, would appreciate the custom.\u003c/p>\n\u003cp>But a few days after our dinner a large box arrived at our house. It was a gift from our cherished guest and her family, and inside was a strange item: two bowls, one with drainage holes all around it, nested inside a solid bowl, with a spinning top as a cover. \u003c/p>\n\u003cp>My husband Bill and I read the instructions. Still uncertain, I put some washed greens inside the inner bowl with the holes and added the spinner. I pushed down as hard as I could to make the spinner move. I pumped with all of my strength to make the center swirl and watched the liquid that had been attached to the leaves hit the wall and drain into the outer bowl. Then I realized I had to be careful, and not overdo it and bruise the leaves. They were the foundation for the mixture of vegetables of all colors and shapes and taste that would make the salad healthy. But the leaves would serve as a background for all the other colors and textures that create the “cornucopia” we call “salad.”\u003c/p>\n\u003cfigure id=\"attachment_12740803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-800x450.jpg\" alt=\"Maya Angelou and director Lee Daniels attend Dr. Maya Angelou's 82nd birthday party with friends and family at Angelou's home on May 20, 2010 in Winston-Salem, North Carolina.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12740803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Lee-Daniels-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maya Angelou and director Lee Daniels attend Dr. Maya Angelou’s 82nd birthday party with friends and family at Angelou’s home on May 20, 2010 in Winston-Salem, North Carolina. \u003ccite>( Photo: Steve Exum/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>More Than A Spinner\u003c/h3>\n\u003cp>I thought of the symbolism and how it reflected on Maya’s journey through life. Pumping the spinner and trying to get rid of the excessive water that drags all too many people down — that matched her vision and efforts to bring all of the stuff that is good for us together, in one place, to nourish and feed our hunger.\u003c/p>\n\u003cp>So often it takes just one person with a strong determination to drive a whole device, or a movement. The challenge is to make sure the person with the hand on the lever really cares about the fragile leaves she is whirling. To recognize that it’s the mixing of all the flavors, colors, and the textures, that result in a great, healthy and special dish.\u003c/p>\n\u003cp>As one who respects Maya’s passion and commitment to value all around us, I asked myself how can I cultivate a new vision of my own place in life?\u003c/p>\n\u003cp>How can I embrace a strong desire to soldier on with others, and accept that I am just one small part of the creation of something good? When will I accept the fact that my contribution will be to find satisfaction in being part of the solution?\u003c/p>\n\u003cp>The most important part of this rather simple ‘thank you gift story’ is envisioning a single person with power to push a lever that forces unwanted elements to go away. I do not want to know if she intended some sort of sublime message for me to acknowledge my own power — or simply wished me to make a better, healthier salad, with less exposure to germs. \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/rHWuSrCU_X0'\n title='//www.youtube.com/embed/rHWuSrCU_X0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A Bigger Meaning\u003c/h3>\n\u003cp>What matters is my admiration and acknowledgment of her power and mine.\u003c/p>\n\u003cp>I think people like me are scattered all over the world. Treasuring our encounters and trying to live up to her ideals and expectations that we live our best lives.\u003c/p>\n\u003cp>During our last interview on KQED’s \u003cem>This Week in Northern California\u003c/em> back in 2012 (see above), I asked her why she had spent so much of her life reaching out and supporting others.\u003c/p>\n\u003cp>“I owe it to another person to say what I’ve learned. I’ve learned that it’s wise to take responsibility for the time you take up and space you occupy,” Angelou said. “I think that each one of us lives in direct relationship to the heroes and sheroes we have. Always and then always.”\u003c/p>\n\u003cp>Maya, so many of us have chosen you as our “shero” and embraced your vision of bringing people together. We agree that we need to be responsible for the space we occupy. Hopefully each of us will find a ‘salad spinner’ — an object or words that make us put our hands on the levers that trigger our imagination and move us to action.\u003c/p>\n\u003cp>Oh, how we need your spirit in our lives to get through the time in which we are living.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bay Area culture has its unsung corners — even in its much-touted food scene. Sometimes important work isn’t splashy, viral-marketed, or all over the blogs. Sometimes, it’s just two pieces of lightweight paperboard with a metal rivet in the center.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.localfoodswheel.com/\" target=\"_blank\" rel=\"noopener\">Local Foods Wheel \u003c/a>isn’t famous, exactly, but you’ll find one inside the home of anyone who likes food, tacked to the wall or magnetically attached to the refrigerator. It does the simple job of showing which foods are in season, month by month. The concentric circles, covered with tiny hand-drawn renderings of regional products, are a vital tool for the kitchen and shopping list of alert eaters around the Bay Area: The smaller top layer shows what items are available year-round, such as honey or radishes, while the bottom layer, revealed by the window in the top one, shows the fava beans, Dungeness crab, or tomatoes that only appear for a short time each year.\u003c/p>\n\u003cfigure id=\"attachment_12127072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg\" alt=\"The SoCal local foods wheel. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The SoCal local foods wheel.\u003c/figcaption>\u003c/figure>\n\u003cp>Because of the wheel’s design, it’s simple enough for a child to understand — yet beautiful enough to be welcome in the most artful places. It’s well appreciated by the Bay Area, for example, at the Alice-Waters-helmed \u003ca href=\"http://edibleschoolyard.org/\" target=\"_blank\" rel=\"noopener\">Edible Schoolyard Project\u003c/a>. “The Local Foods Wheel is a wonderful tool for edible education,” Director of Partnerships and Engagement Liza Siegler, “illustrating for students in a fun and clever way how to eat with the seasons wherever you live.”\u003c/p>\n\u003cp>Ten years and 25,000-plus units into this project, six different regional Local Foods Wheels now exist: they cover the Bay Area, Southern California in both English and Spanish, the Upper Midwest, the Northeast, and recently, the Northwest, thanks to three women: illustrator Sarah Klein, designer Maggie Gosselin, and food expert/researcher Jessica Prentice.\u003c/p>\n\u003cp>Maggie Gosselin’s Mission District apartment is a marvel of cool light and gentle order. Gosselin welcomes me on a recent morning and offers coffee and fruit — seasonal, of course. She tells me putting together a fruit plate is one of her favorite things to do as she tends to a high-octane pourover. Unsurprisingly, she’s also quite skilled at putting together a fruit plate. The green and fuchsia kadota figs, in particular, are consternatingly good. I can’t understand why they taste so exactly like honey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She might say it’s because they’re “at their peak,” meaning, in the ideal spot in their season. And whether it’s how to compose sweet plants on vintage porcelain, or when to look for kadota figs at Bi-Rite, Gosselin should know: Her background includes five years of work at the food mecca of the Ferry Building, a Masters’ degree in Food Policy from Tufts, and five years working at the USDA. Keep in mind she’s only one-third of this project, and you’ll start to understand why the wheel is such a deceptively simple plethora of information.\u003c/p>\n\u003cfigure id=\"attachment_12127235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12127235\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-800x483.jpg\" alt=\"The Local Foods Wheel creators in action. \" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-400x241.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-1180x712.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-1920x1159.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-960x579.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Local Foods Wheel creators in action. \u003ccite>( Dianne Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gosselin tells me the idea for the Wheel germinated in the Ferry Building, where she and Prentice both worked for the \u003ca href=\"http://www.cuesa.org/\" target=\"_blank\" rel=\"noopener\">Center for Urban Education about Sustainable Agriculture\u003c/a>, which runs the Ferry Building farmers’ market (and many others), from 2003 to ’05, and realized consumers were somewhat undereducated where in-season foods were concerned.\u003c/p>\n\u003cp>I spoke with researcher and foodie star Prentice by phone the following day, and the two women’s often-similar answers to my questions showed a collaboration fueled by a healthy love of food, but something with deeper roots, as well. As Prentice put it, “To eat asparagus in spring is meaningful. It feeds my need for meaning.”\u003c/p>\n\u003cp>“As the as the education director, it kind of drove me crazy,” Prentice tells me of their time at CUESA. “Because people would come up and ask ‘Where are the mangoes?’ Or they’d come in winter and say ‘Are there any blueberries?’ And I was like ‘No, blueberries don’t grow in winter!’” Both women remember a seasonal-foods chart they made during that time, a linear, spreadsheet-based thing.\u003c/p>\n\u003cp>Gosselin says they were never satisfied with that chart, although they knew it was needed. “It didn’t convey the cyclical nature of the seasons. So Jessica had this idea to make something with moving parts.”\u003c/p>\n\u003cp>Prentice, meanwhile, first coined the term “locavore,” which she invented in 2005. She says that oddly enough, the term called out its own necessity. When she created the neologism, “There was a lot of press around it, and it really became clear that a lot of people just don’t know what’s local, and have a limited view of what local foods are and can be.” She looped in Gosselin and animator-illustrator Klein, who was then part of the kitchen of the \u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener\">Headlands Center for the Arts \u003c/a>, another Bay Area food focal point — and the Wheel was born.\u003c/p>\n\u003cp>In the ensuing 10 years, over 70 stores have stocked it, new items have been added, and the three have grown in their awareness of what local foods are and can be. The imminent new edit of the Bay Area Wheel, for example, will include bay nuts and elderberries, among other foraged goods.\u003c/p>\n\u003cp>When I suggest the project must really rake in money, Gosselin nearly chokes on a slice of Asian pear (Allard Farms, Castro Farmers’ Market). “Tens of dollars a year!” she laughs; Prentice affirms the accuracy of this estimate. When asked why they do it, then, Gosselin uses the word “love” twice in four seconds, while Prentice uses it four times in two seconds.\u003c/p>\n\u003cp>“It’s a labor of love,” Gosselin says, explaining that she intends to keep working on the Local Foods Wheels for as long as she can, just for the joy of working with her partners, because “I love them!”\u003c/p>\n\u003cp>Prentice, once again, on the echo: “Partly it’s because we just love it. And people who love it, really love it. And we all love each other, too.” The public loves the Local Foods Wheel for other reasons, of course, and the three co-creators are well aware. “It feels like we’re making a contribution. Something that’s needed.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area culture has its unsung corners — even in its much-touted food scene. Sometimes important work isn’t splashy, viral-marketed, or all over the blogs. Sometimes, it’s just two pieces of lightweight paperboard with a metal rivet in the center.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.localfoodswheel.com/\" target=\"_blank\" rel=\"noopener\">Local Foods Wheel \u003c/a>isn’t famous, exactly, but you’ll find one inside the home of anyone who likes food, tacked to the wall or magnetically attached to the refrigerator. It does the simple job of showing which foods are in season, month by month. The concentric circles, covered with tiny hand-drawn renderings of regional products, are a vital tool for the kitchen and shopping list of alert eaters around the Bay Area: The smaller top layer shows what items are available year-round, such as honey or radishes, while the bottom layer, revealed by the window in the top one, shows the fava beans, Dungeness crab, or tomatoes that only appear for a short time each year.\u003c/p>\n\u003cfigure id=\"attachment_12127072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg\" alt=\"The SoCal local foods wheel. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The SoCal local foods wheel.\u003c/figcaption>\u003c/figure>\n\u003cp>Because of the wheel’s design, it’s simple enough for a child to understand — yet beautiful enough to be welcome in the most artful places. It’s well appreciated by the Bay Area, for example, at the Alice-Waters-helmed \u003ca href=\"http://edibleschoolyard.org/\" target=\"_blank\" rel=\"noopener\">Edible Schoolyard Project\u003c/a>. “The Local Foods Wheel is a wonderful tool for edible education,” Director of Partnerships and Engagement Liza Siegler, “illustrating for students in a fun and clever way how to eat with the seasons wherever you live.”\u003c/p>\n\u003cp>Ten years and 25,000-plus units into this project, six different regional Local Foods Wheels now exist: they cover the Bay Area, Southern California in both English and Spanish, the Upper Midwest, the Northeast, and recently, the Northwest, thanks to three women: illustrator Sarah Klein, designer Maggie Gosselin, and food expert/researcher Jessica Prentice.\u003c/p>\n\u003cp>Maggie Gosselin’s Mission District apartment is a marvel of cool light and gentle order. Gosselin welcomes me on a recent morning and offers coffee and fruit — seasonal, of course. She tells me putting together a fruit plate is one of her favorite things to do as she tends to a high-octane pourover. Unsurprisingly, she’s also quite skilled at putting together a fruit plate. The green and fuchsia kadota figs, in particular, are consternatingly good. I can’t understand why they taste so exactly like honey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She might say it’s because they’re “at their peak,” meaning, in the ideal spot in their season. And whether it’s how to compose sweet plants on vintage porcelain, or when to look for kadota figs at Bi-Rite, Gosselin should know: Her background includes five years of work at the food mecca of the Ferry Building, a Masters’ degree in Food Policy from Tufts, and five years working at the USDA. Keep in mind she’s only one-third of this project, and you’ll start to understand why the wheel is such a deceptively simple plethora of information.\u003c/p>\n\u003cfigure id=\"attachment_12127235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12127235\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-800x483.jpg\" alt=\"The Local Foods Wheel creators in action. \" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-400x241.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-1180x712.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-1920x1159.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-960x579.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Local Foods Wheel creators in action. \u003ccite>( Dianne Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gosselin tells me the idea for the Wheel germinated in the Ferry Building, where she and Prentice both worked for the \u003ca href=\"http://www.cuesa.org/\" target=\"_blank\" rel=\"noopener\">Center for Urban Education about Sustainable Agriculture\u003c/a>, which runs the Ferry Building farmers’ market (and many others), from 2003 to ’05, and realized consumers were somewhat undereducated where in-season foods were concerned.\u003c/p>\n\u003cp>I spoke with researcher and foodie star Prentice by phone the following day, and the two women’s often-similar answers to my questions showed a collaboration fueled by a healthy love of food, but something with deeper roots, as well. As Prentice put it, “To eat asparagus in spring is meaningful. It feeds my need for meaning.”\u003c/p>\n\u003cp>“As the as the education director, it kind of drove me crazy,” Prentice tells me of their time at CUESA. “Because people would come up and ask ‘Where are the mangoes?’ Or they’d come in winter and say ‘Are there any blueberries?’ And I was like ‘No, blueberries don’t grow in winter!’” Both women remember a seasonal-foods chart they made during that time, a linear, spreadsheet-based thing.\u003c/p>\n\u003cp>Gosselin says they were never satisfied with that chart, although they knew it was needed. “It didn’t convey the cyclical nature of the seasons. So Jessica had this idea to make something with moving parts.”\u003c/p>\n\u003cp>Prentice, meanwhile, first coined the term “locavore,” which she invented in 2005. She says that oddly enough, the term called out its own necessity. When she created the neologism, “There was a lot of press around it, and it really became clear that a lot of people just don’t know what’s local, and have a limited view of what local foods are and can be.” She looped in Gosselin and animator-illustrator Klein, who was then part of the kitchen of the \u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener\">Headlands Center for the Arts \u003c/a>, another Bay Area food focal point — and the Wheel was born.\u003c/p>\n\u003cp>In the ensuing 10 years, over 70 stores have stocked it, new items have been added, and the three have grown in their awareness of what local foods are and can be. The imminent new edit of the Bay Area Wheel, for example, will include bay nuts and elderberries, among other foraged goods.\u003c/p>\n\u003cp>When I suggest the project must really rake in money, Gosselin nearly chokes on a slice of Asian pear (Allard Farms, Castro Farmers’ Market). “Tens of dollars a year!” she laughs; Prentice affirms the accuracy of this estimate. When asked why they do it, then, Gosselin uses the word “love” twice in four seconds, while Prentice uses it four times in two seconds.\u003c/p>\n\u003cp>“It’s a labor of love,” Gosselin says, explaining that she intends to keep working on the Local Foods Wheels for as long as she can, just for the joy of working with her partners, because “I love them!”\u003c/p>\n\u003cp>Prentice, once again, on the echo: “Partly it’s because we just love it. And people who love it, really love it. And we all love each other, too.” The public loves the Local Foods Wheel for other reasons, of course, and the three co-creators are well aware. “It feels like we’re making a contribution. Something that’s needed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "bay-area-sculpture-right-now-border-crossing-with-sita-kuratomi-bhaumik",
"title": "Bay Area Sculpture Right Now: Border Crossing With Sita Kuratomi Bhaumik",
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"headTitle": "Bay Area Sculpture Right Now: Border Crossing With Sita Kuratomi Bhaumik | KQED",
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"content": "\u003cp>Long before Donald J. Trump entered the 2016 presidential election, and long before he promised to build a 50-foot-tall, 1,000-mile-long wall between the United States and Mexico, Oakland-based artist \u003ca href=\"http://sitabhaumik.com/\" target=\"_blank\" rel=\"noopener\">Sita Kuratomi Bhaumik\u003c/a> was thinking about borders.\u003c/p>\n\u003cp>“For some people, their life is the wall or the border and that’s their entire experience. And then for so many of us it’s absolutely this imagined thing that exists some place far, far away,” she says. As the topic of the border wall entered the current election cycle, Bhaumik wanted to make that distant and abstract thing a more relatable reality for local audiences.\u003c/p>\n\u003cp>On Friday, Sept. 9, Bhaumik opens \u003ci>\u003ca href=\"https://www.soex.org/projects-exhibitions/estamos-contra-el-muro-we-are-against-wall\" target=\"_blank\" rel=\"noopener\">Estamos contra el muro | We Are Against the Wall\u003c/a>\u003c/i> at San Francisco’s visual arts nonprofit \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a>. Collaborating with Bay Area- and Mexico-based piñata makers, along with a mural artist, a DJ collective, chefs and activists, Bhaumik plans to recreate the life cycle of a cinder block border wall — made entirely of piñatas.\u003c/p>\n\u003cfigure id=\"attachment_12010299\" class=\"wp-caption aligncenter\" style=\"max-width: 1104px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93.jpg\" alt=\"Bhaumik's upcoming project at Southern Exposure, 'Estamos contra el muro | We are against the wall.'\" width=\"1104\" height=\"720\" class=\"size-full wp-image-12010299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-960x626.jpg 960w\" sizes=\"(max-width: 1104px) 100vw, 1104px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik’s upcoming project at Southern Exposure, ‘Estamos contra el muro | We are against the wall.’ \u003ccite>(Courtesy of the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gray tissue-paper-covered blocks are possibly the least-festive piñatas ever made, with their drab fringes and square corners, but Bhaumik and her collaborators will bring life, color, music and food to the wall over the course of the exhibition, culminating in \u003ca href=\"https://www.soex.org/events/fall-la-ca%C3%ADda-community-demolition-party\" target=\"_blank\" rel=\"noopener\">an Oct. 15 event\u003c/a> during which the public is invited to channel their aggression towards divisive architecture and ideology and pummel the piñatas into oblivion.\u003c/p>\n\u003cp>“The piñata exists only to be destroyed,” Bhaumik says. “You see a brick and it’s supposed to last 30 years or 100 years. You see a piñata it’s only supposed to last for a birthday. The only reason to build a wall in my opinion is to destroy it.”\u003c/p>\n\u003cfigure id=\"attachment_12010292\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1.jpg\" alt='\"Mexican\" flags and devalued Mexican pesos; Piñatas made by Iván Padilla Mónico, from the indigenous Purepecha community of San Jeronimo Purenchecuaro in Mexico.' width=\"1200\" height=\"880\" class=\"size-full wp-image-12010292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">“Mexican” flags and devalued Mexican pesos; Piñatas made by Iván Padilla Mónico, from the indigenous Purepecha community of San Jeronimo Purenchecuaro in Mexico. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the timing of Bhaumik’s exhibition ties nicely into this year’s rollercoaster election season, her piñata wall enters a conversation not just about America’s southern border, but about borders — and border walls — in general.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Erecting border walls around the world is always something that people talk about,” Bhaumik says. “But there’s this reality that they’re completely impractical.” Bordering countries rely on one another for resources, people, goods and basic economic exchange, she says. “The wall’s always better as an idea than it is in real life — which is why so many of them come down.”\u003c/p>\n\u003cfigure id=\"attachment_12010290\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200.jpg\" alt=\"Bhaumik holds a copy of a book about her family's history, Japanese farmers in Colombia.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12010290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik holds a copy of a book about her family’s history, Japanese farmers in Colombia. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first-generation daughter of two immigrants (her father is from West Bengal, her mother is Japanese Colombian), Bhaumik’s artistic practice frequently investigates and makes evident the movement of people and resources that shaped her own family history. In much of her work, that cultural exchange manifests as food.\u003c/p>\n\u003cp>But as Bhaumik discovered in her years of food-related research, nourishment isn’t a universal source of bonding. Searching for the phrase “smells like curry” on the internet late one night, she expected to find recipes and a few xenophobic posts. “What I found was just endless… just these crazy amounts of racist comments,” she says. “Like, ‘Help I bought a couch on Craigslist that smells like curry, what do I do?’” \u003c/p>\n\u003cp>On Yahoo Answers, someone replied to the query of “Help my neighbor smells like curry, what should I do?” with “Call the INS.”\u003c/p>\n\u003cfigure id=\"attachment_12010286\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200.jpg\" alt=\"In Bhaumik's kitchen; One small part of Bhaumik's collection of miniature foodstuffs.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-12010286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">In Bhaumik’s kitchen; One small part of Bhaumik’s collection of miniature foodstuffs. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We like to think of meals as this moment when you can all gather and break bread and everything is going to be okay,” Bhaumik says. But she found that the inverse was also true. “How does food divide people? How are people judged by it? How is that a marker of difference, or something that separates you and me instead of brings us together?”\u003c/p>\n\u003cp>Partially in response to those ugly internet comments, Bhaumik decided to embrace curry in her art practice. During graduate school at California College of the Arts, Bhaumik’s studio filled with patterned wall installations of curry powder that drew people (and their noses) within centimeters of the flocked surfaces. Other spicy artworks took her to Ireland and the Netherlands, where her project \u003ci>\u003ca href=\"http://sitabhaumik.com/section/392062_Dear_Future.html\" target=\"_blank\" rel=\"noopener\">Dear Future\u003c/a>\u003c/i> used paprika, turmeric, matcha and ube powder as the basis for conversations about the future of food.\u003c/p>\n\u003cfigure id=\"attachment_12010289\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200.jpg\" alt=\"A map of Christopher Columbus' intended and actual routes.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12010289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A map of Christopher Columbus’ intended and actual routes. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With projects like \u003ci>\u003ca href=\"http://sitabhaumik.com/section/391622_MamaSita_s_Tiny_Tea_House.html\" target=\"_blank\" rel=\"noopener\">MamaSita’s Tiny Tea House\u003c/a>\u003c/i>, Bhaumik pushes the culinary interactions even further. Instead of simply serving masala chai (the result of British influence on the Indian beverage market) from a miniature sky blue stall, she makes her “customers” kneel to get their free tea. \u003c/p>\n\u003cp>Her interest in miniaturizing everyday objects and interactions is apparent in her home studio. The space is filled with miniature things — small tortilla makers next to regular-sized tortilla makers, tiny plastic donuts next to regular-sized plastic donuts. “I can’t explain it really for myself,” she says. “I just love tiny things when they are next to huge things.”\u003c/p>\n\u003cp>But there’s another reason for this love, she admits. Changes in scale force people to shift their perspective. In addition to regular cinder-block-sized piñatas installed at Southern Exposure, Bhaumik has commissioned a set of miniature piñatas from San Francisco-based Isaías D. Rodríguez, aka the \u003ca href=\"http://littlepinatamaker.weebly.com/store/c1/Featured_Products.html\" target=\"_blank\" rel=\"noopener\">Little Piñata Maker\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_12010287\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200.jpg\" alt=\"miniature book with family photos from her 'MamaSita's Tiny Tea House' project.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-12010287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik holds a miniature book with family photos from her ‘MamaSita’s Tiny Tea House’ project. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The height and the magnitude of [Trump’s proposed] wall is actually bigger than Southern Expsoure’s gallery,” Bhaumik says. “Having a little architectural model of a six-foot person in relationship to the height of this wall is another way both to point at just the sheer insanity of the scale.”\u003c/p>\n\u003cp>“It also speaks to this wall as a plan and a proposal, because it’s always a plan and a proposal,” she adds, regardless of who’s in the White House.\u003c/p>\n\u003cp>Nowadays, Bhaumik channels her food-related work into the \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener\">People’s Kitchen Collective\u003c/a> (PKC), a collaboration between Bhaumik, Jocelyn Jackson and Saqib Keval. The PKC, which cooks and serves meals for up to 500 people at a time, often in Oakland’s Lil’ Bobby Hutton Park/DeFremery Park, allows the diners and organizers to share cultures, space, struggles and solidarity.\u003c/p>\n\u003cfigure id=\"attachment_12010288\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200.jpg\" alt=\"The Black Panther Party's free breakfast program was an inspiration for the People's Kitchen Collective.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-12010288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s free breakfast program was an inspiration for the People’s Kitchen Collective. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think of it as this Venn diagram of food, justice, art and politics,” Bhaumik says of the project. “We’re in that little central point in between all of these things.” It’s an in-between space that Bhaumik happily occupies both in her life and artwork — and that she seeks out in the world at large. \u003c/p>\n\u003cp>“I’m always thinking about these moments, whether it’s the Black Panther Party and ‘\u003ca href=\"http://www.newsreel.us/panthers/yellow_peril.jpg\" target=\"_blank\" rel=\"noopener\">Yellow Peril Supports Black Power\u003c/a>.’ Or whether it’s thinking about the \u003ca href=\"https://en.wikipedia.org/wiki/DREAM_Act\" target=\"_blank\" rel=\"noopener\">DREAM Act\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Deferred_Action_for_Childhood_Arrivals\" target=\"_blank\" rel=\"noopener\">DACA\u003c/a> and immigration reform,” Bhaumik says. “Where are those intersections between communities of color? Because that’s so much a part of my experience.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>See Sita Kuratomi Bhaumik’s work in \u003cb>Estamos contra el muro | We Are Against the Wall\u003c/b> at Southern Exposure in San Francisco, Sept. 9 – Oct. 15. For more information on the exhibition and related events, visit \u003ca href=\"https://www.soex.org/projects-exhibitions/estamos-contra-el-muro-we-are-against-wall\" target=\"_blank\" rel=\"noopener\">soex.org\u003c/a>. \u003c/i>\u003c/p>\n\n",
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"excerpt": "While Trump's wall to divide the U.S. and Mexico dominates our election season, a local artist builds a wall -- with piñatas -- to bring us together.",
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"title": "Bay Area Sculpture Right Now: Border Crossing With Sita Kuratomi Bhaumik | KQED",
"description": "While Trump's wall to divide the U.S. and Mexico dominates our election season, a local artist builds a wall -- with piñatas -- to bring us together.",
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"headline": "Bay Area Sculpture Right Now: Border Crossing With Sita Kuratomi Bhaumik",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before Donald J. Trump entered the 2016 presidential election, and long before he promised to build a 50-foot-tall, 1,000-mile-long wall between the United States and Mexico, Oakland-based artist \u003ca href=\"http://sitabhaumik.com/\" target=\"_blank\" rel=\"noopener\">Sita Kuratomi Bhaumik\u003c/a> was thinking about borders.\u003c/p>\n\u003cp>“For some people, their life is the wall or the border and that’s their entire experience. And then for so many of us it’s absolutely this imagined thing that exists some place far, far away,” she says. As the topic of the border wall entered the current election cycle, Bhaumik wanted to make that distant and abstract thing a more relatable reality for local audiences.\u003c/p>\n\u003cp>On Friday, Sept. 9, Bhaumik opens \u003ci>\u003ca href=\"https://www.soex.org/projects-exhibitions/estamos-contra-el-muro-we-are-against-wall\" target=\"_blank\" rel=\"noopener\">Estamos contra el muro | We Are Against the Wall\u003c/a>\u003c/i> at San Francisco’s visual arts nonprofit \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a>. Collaborating with Bay Area- and Mexico-based piñata makers, along with a mural artist, a DJ collective, chefs and activists, Bhaumik plans to recreate the life cycle of a cinder block border wall — made entirely of piñatas.\u003c/p>\n\u003cfigure id=\"attachment_12010299\" class=\"wp-caption aligncenter\" style=\"max-width: 1104px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93.jpg\" alt=\"Bhaumik's upcoming project at Southern Exposure, 'Estamos contra el muro | We are against the wall.'\" width=\"1104\" height=\"720\" class=\"size-full wp-image-12010299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-960x626.jpg 960w\" sizes=\"(max-width: 1104px) 100vw, 1104px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik’s upcoming project at Southern Exposure, ‘Estamos contra el muro | We are against the wall.’ \u003ccite>(Courtesy of the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gray tissue-paper-covered blocks are possibly the least-festive piñatas ever made, with their drab fringes and square corners, but Bhaumik and her collaborators will bring life, color, music and food to the wall over the course of the exhibition, culminating in \u003ca href=\"https://www.soex.org/events/fall-la-ca%C3%ADda-community-demolition-party\" target=\"_blank\" rel=\"noopener\">an Oct. 15 event\u003c/a> during which the public is invited to channel their aggression towards divisive architecture and ideology and pummel the piñatas into oblivion.\u003c/p>\n\u003cp>“The piñata exists only to be destroyed,” Bhaumik says. “You see a brick and it’s supposed to last 30 years or 100 years. You see a piñata it’s only supposed to last for a birthday. The only reason to build a wall in my opinion is to destroy it.”\u003c/p>\n\u003cfigure id=\"attachment_12010292\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1.jpg\" alt='\"Mexican\" flags and devalued Mexican pesos; Piñatas made by Iván Padilla Mónico, from the indigenous Purepecha community of San Jeronimo Purenchecuaro in Mexico.' width=\"1200\" height=\"880\" class=\"size-full wp-image-12010292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">“Mexican” flags and devalued Mexican pesos; Piñatas made by Iván Padilla Mónico, from the indigenous Purepecha community of San Jeronimo Purenchecuaro in Mexico. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the timing of Bhaumik’s exhibition ties nicely into this year’s rollercoaster election season, her piñata wall enters a conversation not just about America’s southern border, but about borders — and border walls — in general.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Erecting border walls around the world is always something that people talk about,” Bhaumik says. “But there’s this reality that they’re completely impractical.” Bordering countries rely on one another for resources, people, goods and basic economic exchange, she says. “The wall’s always better as an idea than it is in real life — which is why so many of them come down.”\u003c/p>\n\u003cfigure id=\"attachment_12010290\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200.jpg\" alt=\"Bhaumik holds a copy of a book about her family's history, Japanese farmers in Colombia.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12010290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik holds a copy of a book about her family’s history, Japanese farmers in Colombia. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first-generation daughter of two immigrants (her father is from West Bengal, her mother is Japanese Colombian), Bhaumik’s artistic practice frequently investigates and makes evident the movement of people and resources that shaped her own family history. In much of her work, that cultural exchange manifests as food.\u003c/p>\n\u003cp>But as Bhaumik discovered in her years of food-related research, nourishment isn’t a universal source of bonding. Searching for the phrase “smells like curry” on the internet late one night, she expected to find recipes and a few xenophobic posts. “What I found was just endless… just these crazy amounts of racist comments,” she says. “Like, ‘Help I bought a couch on Craigslist that smells like curry, what do I do?’” \u003c/p>\n\u003cp>On Yahoo Answers, someone replied to the query of “Help my neighbor smells like curry, what should I do?” with “Call the INS.”\u003c/p>\n\u003cfigure id=\"attachment_12010286\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200.jpg\" alt=\"In Bhaumik's kitchen; One small part of Bhaumik's collection of miniature foodstuffs.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-12010286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">In Bhaumik’s kitchen; One small part of Bhaumik’s collection of miniature foodstuffs. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We like to think of meals as this moment when you can all gather and break bread and everything is going to be okay,” Bhaumik says. But she found that the inverse was also true. “How does food divide people? How are people judged by it? How is that a marker of difference, or something that separates you and me instead of brings us together?”\u003c/p>\n\u003cp>Partially in response to those ugly internet comments, Bhaumik decided to embrace curry in her art practice. During graduate school at California College of the Arts, Bhaumik’s studio filled with patterned wall installations of curry powder that drew people (and their noses) within centimeters of the flocked surfaces. Other spicy artworks took her to Ireland and the Netherlands, where her project \u003ci>\u003ca href=\"http://sitabhaumik.com/section/392062_Dear_Future.html\" target=\"_blank\" rel=\"noopener\">Dear Future\u003c/a>\u003c/i> used paprika, turmeric, matcha and ube powder as the basis for conversations about the future of food.\u003c/p>\n\u003cfigure id=\"attachment_12010289\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200.jpg\" alt=\"A map of Christopher Columbus' intended and actual routes.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12010289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A map of Christopher Columbus’ intended and actual routes. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With projects like \u003ci>\u003ca href=\"http://sitabhaumik.com/section/391622_MamaSita_s_Tiny_Tea_House.html\" target=\"_blank\" rel=\"noopener\">MamaSita’s Tiny Tea House\u003c/a>\u003c/i>, Bhaumik pushes the culinary interactions even further. Instead of simply serving masala chai (the result of British influence on the Indian beverage market) from a miniature sky blue stall, she makes her “customers” kneel to get their free tea. \u003c/p>\n\u003cp>Her interest in miniaturizing everyday objects and interactions is apparent in her home studio. The space is filled with miniature things — small tortilla makers next to regular-sized tortilla makers, tiny plastic donuts next to regular-sized plastic donuts. “I can’t explain it really for myself,” she says. “I just love tiny things when they are next to huge things.”\u003c/p>\n\u003cp>But there’s another reason for this love, she admits. Changes in scale force people to shift their perspective. In addition to regular cinder-block-sized piñatas installed at Southern Exposure, Bhaumik has commissioned a set of miniature piñatas from San Francisco-based Isaías D. Rodríguez, aka the \u003ca href=\"http://littlepinatamaker.weebly.com/store/c1/Featured_Products.html\" target=\"_blank\" rel=\"noopener\">Little Piñata Maker\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_12010287\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200.jpg\" alt=\"miniature book with family photos from her 'MamaSita's Tiny Tea House' project.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-12010287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik holds a miniature book with family photos from her ‘MamaSita’s Tiny Tea House’ project. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The height and the magnitude of [Trump’s proposed] wall is actually bigger than Southern Expsoure’s gallery,” Bhaumik says. “Having a little architectural model of a six-foot person in relationship to the height of this wall is another way both to point at just the sheer insanity of the scale.”\u003c/p>\n\u003cp>“It also speaks to this wall as a plan and a proposal, because it’s always a plan and a proposal,” she adds, regardless of who’s in the White House.\u003c/p>\n\u003cp>Nowadays, Bhaumik channels her food-related work into the \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener\">People’s Kitchen Collective\u003c/a> (PKC), a collaboration between Bhaumik, Jocelyn Jackson and Saqib Keval. The PKC, which cooks and serves meals for up to 500 people at a time, often in Oakland’s Lil’ Bobby Hutton Park/DeFremery Park, allows the diners and organizers to share cultures, space, struggles and solidarity.\u003c/p>\n\u003cfigure id=\"attachment_12010288\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200.jpg\" alt=\"The Black Panther Party's free breakfast program was an inspiration for the People's Kitchen Collective.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-12010288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s free breakfast program was an inspiration for the People’s Kitchen Collective. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think of it as this Venn diagram of food, justice, art and politics,” Bhaumik says of the project. “We’re in that little central point in between all of these things.” It’s an in-between space that Bhaumik happily occupies both in her life and artwork — and that she seeks out in the world at large. \u003c/p>\n\u003cp>“I’m always thinking about these moments, whether it’s the Black Panther Party and ‘\u003ca href=\"http://www.newsreel.us/panthers/yellow_peril.jpg\" target=\"_blank\" rel=\"noopener\">Yellow Peril Supports Black Power\u003c/a>.’ Or whether it’s thinking about the \u003ca href=\"https://en.wikipedia.org/wiki/DREAM_Act\" target=\"_blank\" rel=\"noopener\">DREAM Act\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Deferred_Action_for_Childhood_Arrivals\" target=\"_blank\" rel=\"noopener\">DACA\u003c/a> and immigration reform,” Bhaumik says. “Where are those intersections between communities of color? Because that’s so much a part of my experience.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>See Sita Kuratomi Bhaumik’s work in \u003cb>Estamos contra el muro | We Are Against the Wall\u003c/b> at Southern Exposure in San Francisco, Sept. 9 – Oct. 15. For more information on the exhibition and related events, visit \u003ca href=\"https://www.soex.org/projects-exhibitions/estamos-contra-el-muro-we-are-against-wall\" target=\"_blank\" rel=\"noopener\">soex.org\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What happens when two women of color who play punk rock come together for dinner? In the case of Michelle Gonzales, former drummer of ’90s anarcho punks Spitboy, and Christine Tupou of Try the Pie, the result was a revealing conversation over homemade tacos about the difficulties they face in the punk scene.\u003c/p>\n\u003cp>[contextly_sidebar id=”ZLSNE30gBJF5waCzXqfuJR75VA8XT9ey”]\u003c/p>\n\u003cp>It may be hard for some to admit, but punk rock has always been dominated by white males. There are some high-profile exceptions — Bad Brains, Bikini Kill — but women of color are unfortunately rare in the punk scene.\u003c/p>\n\u003cp>As you’ll see in the video above, Gonzales — who details her Spitboy days in the memoir \u003cem>The Spitboy Rule: Tales Of A Female Punk Band\u003c/em> — describes “coming out as Chicana” in a scene that should’ve been more inclusive, only to learn from Tupou, raised in Tongan churches by her Polynesian father, that things haven’t changed much in the past 25 years.\u003c/p>\n\u003cp>– \u003cem>Kevin Jones\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What happens when two women of color who play punk rock come together for dinner? In the case of Michelle Gonzales, former drummer of ’90s anarcho punks Spitboy, and Christine Tupou of Try the Pie, the result was a revealing conversation over homemade tacos about the difficulties they face in the punk scene.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It may be hard for some to admit, but punk rock has always been dominated by white males. There are some high-profile exceptions — Bad Brains, Bikini Kill — but women of color are unfortunately rare in the punk scene.\u003c/p>\n\u003cp>As you’ll see in the video above, Gonzales — who details her Spitboy days in the memoir \u003cem>The Spitboy Rule: Tales Of A Female Punk Band\u003c/em> — describes “coming out as Chicana” in a scene that should’ve been more inclusive, only to learn from Tupou, raised in Tongan churches by her Polynesian father, that things haven’t changed much in the past 25 years.\u003c/p>\n\u003cp>– \u003cem>Kevin Jones\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At LA's MOCA, a Celebrated Chef Serves Up Dinner as Art Installation",
"headTitle": "At LA’s MOCA, a Celebrated Chef Serves Up Dinner as Art Installation | KQED",
"content": "\u003cp>Many chefs think of themselves as artists in the kitchen. Craig Thornton has taken it to another level: For the past five months, he’s been serving up multi-course meals as part of a room-size installation at the prestigious Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>Thornton, 34, is a cult figure in LA’s booming food scene. And for this pop-up dining experiment, he whipped up a rococo menu. A typical dish — if typical is a word that even applies — might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin.\u003c/p>\n\u003cfigure id=\"attachment_11803314\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg\" alt=\"Chef Craig Thornton, 34, is something of a cult figure in LA's food scene.\" width=\"640\" height=\"512\" class=\"size-large wp-image-11803314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chef Craig Thornton, 34, is something of a cult figure in LA’s food scene. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was just one of nine elaborate dishes served within MOCA’s Geffen Contemporary location, in what looked like the set of a dystopian Disney film — a space replete with taxidermied deer, wolves and peacocks arranged in a forest of cherry trees, some of them burnt. \u003cem>Wolvesmouth: Taxa\u003c/em>, as this unorthodox eating experience was called, just closed after a five-month residency. It was the most recent iteration of a roving restaurant that Thornton has run for years — sometimes in warehouses, sometimes in apartments and usually with more amenities.\u003c/p>\n\u003cp>“We’re cooking in the middle of a museum with no running water,” Thornton said ruefully during a recent dinner. “I mean, we have to know how much water we’re using.” (The answer: 75 to 85 gallons per night.)\u003c/p>\n\u003cfigure id=\"attachment_11803315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg\" alt=\"Thornton's menu for 'Wolvesmouth: Taxa' featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin\" width=\"640\" height=\"360\" class=\"size-large wp-image-11803315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thornton’s menu for ‘Wolvesmouth: Taxa’ featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s funny to think that for the past several months, Thornton — a chef behind some of the most coveted reservations in Los Angeles — has had to finish each night lugging and emptying gallons of water into a tiny painters’ sink in the back of the museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ordinarily, dining on Thornton’s carefully curated meals means months of languishing on waitlists. But at MOCA — two seatings a night, three days a week — Angeleno foodies could pay $225 for a multisensory experience in which art and food were intended to be one seamless experience. For example, one massive sculpture, a 2,000-pound iceberg sculpted from Styrofoam, was planned to complement a dish of chili-seasoned shrimp — “the spice being this kind of metaphor for heat melting glaciers,” Thornton explained.\u003c/p>\n\u003cp>Along with silverware and napkins, diners were furnished with a manifesto of sorts that laid out the chef’s thoughts about greed, nature and decay. They were urged to contemplate what it means to consume, and to discuss those thoughts with each other and with the staff busily plating their dinners. Nearby, a sculpture depicts an oil spill and the taxidermied animals are depicted struggling in the muck.\u003c/p>\n\u003cfigure id=\"attachment_11803316\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg\" alt=\"Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11803316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a lot to take in as a viewer and as an eater,” says Carolina Miranda, an art critic for the \u003cem>Los Angeles Times\u003c/em>. “I think if you could think of a crazy action movie on the palate, I think that’s almost what he’s going for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a city known for both cutting-edge food and contemporary art, Miranda says it’s smart for MOCA to lure patrons with an over-the top immersive experience. \u003cem>Wolvesmouth:Taxa\u003c/em> was Part 3 of a planned series of nine culinary installations taking place over the next few years. Thornton says the 10th will combine elements of all of the dinners that preceded it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+LA%27s+MOCA%2C+A+Celebrated+Chef+Serves+Up+Dinner+As+Art+Installation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many chefs think of themselves as artists in the kitchen. Craig Thornton has taken it to another level: For the past five months, he’s been serving up multi-course meals as part of a room-size installation at the prestigious Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>Thornton, 34, is a cult figure in LA’s booming food scene. And for this pop-up dining experiment, he whipped up a rococo menu. A typical dish — if typical is a word that even applies — might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin.\u003c/p>\n\u003cfigure id=\"attachment_11803314\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg\" alt=\"Chef Craig Thornton, 34, is something of a cult figure in LA's food scene.\" width=\"640\" height=\"512\" class=\"size-large wp-image-11803314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chef Craig Thornton, 34, is something of a cult figure in LA’s food scene. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was just one of nine elaborate dishes served within MOCA’s Geffen Contemporary location, in what looked like the set of a dystopian Disney film — a space replete with taxidermied deer, wolves and peacocks arranged in a forest of cherry trees, some of them burnt. \u003cem>Wolvesmouth: Taxa\u003c/em>, as this unorthodox eating experience was called, just closed after a five-month residency. It was the most recent iteration of a roving restaurant that Thornton has run for years — sometimes in warehouses, sometimes in apartments and usually with more amenities.\u003c/p>\n\u003cp>“We’re cooking in the middle of a museum with no running water,” Thornton said ruefully during a recent dinner. “I mean, we have to know how much water we’re using.” (The answer: 75 to 85 gallons per night.)\u003c/p>\n\u003cfigure id=\"attachment_11803315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg\" alt=\"Thornton's menu for 'Wolvesmouth: Taxa' featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin\" width=\"640\" height=\"360\" class=\"size-large wp-image-11803315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thornton’s menu for ‘Wolvesmouth: Taxa’ featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s funny to think that for the past several months, Thornton — a chef behind some of the most coveted reservations in Los Angeles — has had to finish each night lugging and emptying gallons of water into a tiny painters’ sink in the back of the museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ordinarily, dining on Thornton’s carefully curated meals means months of languishing on waitlists. But at MOCA — two seatings a night, three days a week — Angeleno foodies could pay $225 for a multisensory experience in which art and food were intended to be one seamless experience. For example, one massive sculpture, a 2,000-pound iceberg sculpted from Styrofoam, was planned to complement a dish of chili-seasoned shrimp — “the spice being this kind of metaphor for heat melting glaciers,” Thornton explained.\u003c/p>\n\u003cp>Along with silverware and napkins, diners were furnished with a manifesto of sorts that laid out the chef’s thoughts about greed, nature and decay. They were urged to contemplate what it means to consume, and to discuss those thoughts with each other and with the staff busily plating their dinners. Nearby, a sculpture depicts an oil spill and the taxidermied animals are depicted struggling in the muck.\u003c/p>\n\u003cfigure id=\"attachment_11803316\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg\" alt=\"Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11803316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a lot to take in as a viewer and as an eater,” says Carolina Miranda, an art critic for the \u003cem>Los Angeles Times\u003c/em>. “I think if you could think of a crazy action movie on the palate, I think that’s almost what he’s going for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a city known for both cutting-edge food and contemporary art, Miranda says it’s smart for MOCA to lure patrons with an over-the top immersive experience. \u003cem>Wolvesmouth:Taxa\u003c/em> was Part 3 of a planned series of nine culinary installations taking place over the next few years. Thornton says the 10th will combine elements of all of the dinners that preceded it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+LA%27s+MOCA%2C+A+Celebrated+Chef+Serves+Up+Dinner+As+Art+Installation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Danny Scheie looks like butter definitely \u003cem>would\u003c/em> melt in his mouth — and drizzle down his chin in greasy rivulets — in this odd but weirdly hypnotic preview trailer for \u003cem>A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/em>. The stage comedy by esteemed San Francisco playwright Peter Sinn Nachtrieb stars Scheie, and is about to receive its world premiere at Z Space.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=cJTngYUWuOk%20\">https://www.youtube.com/watch?v=cJTngYUWuOk%20\u003c/a>\u003c/p>\n\u003cp>We’re not quite sure what the veteran local actor is up to with those two innocent cubes of butter as the oom-pah-pah strains of Johann Strauss’ \u003cem>Blue Danube Waltz\u003c/em> play jovially in the background. But judging by the look on Scheie’s face, this particular “house tour” isn’t much like the sort of thing you’d get from a San Francisco realtor.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The show runs Monday, Mar. 29 – Saturday, Apr. 23 at Z Space in San Francisco. Information \u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Danny Scheie looks like butter definitely \u003cem>would\u003c/em> melt in his mouth — and drizzle down his chin in greasy rivulets — in this odd but weirdly hypnotic preview trailer for \u003cem>A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/em>. The stage comedy by esteemed San Francisco playwright Peter Sinn Nachtrieb stars Scheie, and is about to receive its world premiere at Z Space.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=cJTngYUWuOk%20\">https://www.youtube.com/watch?v=cJTngYUWuOk%20\u003c/a>\u003c/p>\n\u003cp>We’re not quite sure what the veteran local actor is up to with those two innocent cubes of butter as the oom-pah-pah strains of Johann Strauss’ \u003cem>Blue Danube Waltz\u003c/em> play jovially in the background. But judging by the look on Scheie’s face, this particular “house tour” isn’t much like the sort of thing you’d get from a San Francisco realtor.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The show runs Monday, Mar. 29 – Saturday, Apr. 23 at Z Space in San Francisco. Information \u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nik Sharma, a molecular biologist-turned-\u003ca href=\"http://www.niksharmaphotography.com\" target=\"_blank\" rel=\"noopener\">food photographer\u003c/a>, had dreamed of becoming a chef since he was a child. But his mother warned him of a life spent “in a cold room, peeling onions.”\u003c/p>\n\u003cp>Still, the 35-year-old Indian immigrant who now calls Oakland home, saw things differently. Consumed by the creativity and art of cooking, in 2011 he began to photograph culinary inspirations he created in his kitchen.\u003c/p>\n\u003cp>From \u003ca href=\"http://www.abrowntable.com/home/masala-chai-gingersnaps\" target=\"_blank\" rel=\"noopener\">masala chai gingersnaps\u003c/a> to \u003ca href=\"http://www.abrowntable.com/home/tandoori-chicken-melts\" target=\"_blank\" rel=\"noopener\">tandoori chicken melts\u003c/a>, his novel recipes often fuse Indian and Western cuisine, and the arresting images he renders of his creations usually include his own hands.\u003c/p>\n\u003cp>“When I first started, there was no one of color out there in food photography, at least who I knew of,” Sharma told KQED Arts. “We really never see the people behind the stoves, cooking, cutting vegetables, and putting things together for us, who come from every walk of life. I hope that my work brings them into to focus.”\u003c/p>\n\u003cp>Sharma has captured a passionate foodie audience with his blog \u003ca href=\"http://www.abrowntable.com\" target=\"_blank\" rel=\"noopener\">“A Brown Table,”\u003c/a> fueled by his more than 27,000 followers on \u003ca href=\"https://www.instagram.com/abrowntable/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. In 2015, he was a \u003ca href=\"http://www.saveur.com/gallery/2015-blog-awards-best-photography-finalists?image=5\" target=\"_blank\" rel=\"noopener\">\u003cem>Saveur\u003c/em> Best Food Photography Finalist\u003c/a>, and also recognized by the International Association of Culinary Professionals for \u003ca href=\"https://www.washingtonpost.com/lifestyle/food/local-authors-are-among-iacp-award-winners-announced-in-washington/2015/03/29/ecb2d896-d625-11e4-8103-fa84725dbf9d_story.html\" target=\"_blank\" rel=\"noopener\">Best Photo-based Culinary Blog\u003c/a>. \u003cem>– Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nik Sharma, a molecular biologist-turned-\u003ca href=\"http://www.niksharmaphotography.com\" target=\"_blank\" rel=\"noopener\">food photographer\u003c/a>, had dreamed of becoming a chef since he was a child. But his mother warned him of a life spent “in a cold room, peeling onions.”\u003c/p>\n\u003cp>Still, the 35-year-old Indian immigrant who now calls Oakland home, saw things differently. Consumed by the creativity and art of cooking, in 2011 he began to photograph culinary inspirations he created in his kitchen.\u003c/p>\n\u003cp>From \u003ca href=\"http://www.abrowntable.com/home/masala-chai-gingersnaps\" target=\"_blank\" rel=\"noopener\">masala chai gingersnaps\u003c/a> to \u003ca href=\"http://www.abrowntable.com/home/tandoori-chicken-melts\" target=\"_blank\" rel=\"noopener\">tandoori chicken melts\u003c/a>, his novel recipes often fuse Indian and Western cuisine, and the arresting images he renders of his creations usually include his own hands.\u003c/p>\n\u003cp>“When I first started, there was no one of color out there in food photography, at least who I knew of,” Sharma told KQED Arts. “We really never see the people behind the stoves, cooking, cutting vegetables, and putting things together for us, who come from every walk of life. I hope that my work brings them into to focus.”\u003c/p>\n\u003cp>Sharma has captured a passionate foodie audience with his blog \u003ca href=\"http://www.abrowntable.com\" target=\"_blank\" rel=\"noopener\">“A Brown Table,”\u003c/a> fueled by his more than 27,000 followers on \u003ca href=\"https://www.instagram.com/abrowntable/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. In 2015, he was a \u003ca href=\"http://www.saveur.com/gallery/2015-blog-awards-best-photography-finalists?image=5\" target=\"_blank\" rel=\"noopener\">\u003cem>Saveur\u003c/em> Best Food Photography Finalist\u003c/a>, and also recognized by the International Association of Culinary Professionals for \u003ca href=\"https://www.washingtonpost.com/lifestyle/food/local-authors-are-among-iacp-award-winners-announced-in-washington/2015/03/29/ecb2d896-d625-11e4-8103-fa84725dbf9d_story.html\" target=\"_blank\" rel=\"noopener\">Best Photo-based Culinary Blog\u003c/a>. \u003cem>– Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "holiday-cocktails-why-dream-of-a-white-christmas-drink-one-instead",
"title": "Holiday Cocktails: Why Dream of a White Christmas? Drink One Instead!",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11126413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Of all the great holiday traditions, there are only two that really matter: the annual outing to see \u003cem>The Nutcracker\u003c/em>, \u003cem>A Christmas Carol\u003c/em> or \u003cem>The Messiah\u003c/em>…and drinking.\u003c/p>\n\u003cp>Here at KQED Arts, we thought it would make a lot of sense to combine them. So we’ve created a bunch of tasty cocktails to help enhance your cultural pleasure this holiday season.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141407\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-400x465.jpg\" alt=\"The Nutcracker\" width=\"400\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-516x600.jpg 516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1015x1180.jpg 1015w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1920x2233.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1180x1372.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-960x1117.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Nutcracker \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Nutcracker\u003c/h3>\n\u003cp>Gird yourself for another matinee appearance of the sugarplum fairy with this robust cocktail. A comforting drink with a dark underside, The Nutcracker captures the brooding fantasy of Tchaikovsky’s ballet in a tumbler. We matched rye whiskey with the burnt orange flavors of Amaro Nardini and black walnut bitters to create a nutty tribute to the perennial holiday favorite. Perfect as a pre-curtain libation, or surreptitiously sipped from a flask in your seat. Prost!\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>1.5 oz rye whiskey\u003cbr>\n.5 oz simple syrup\u003cbr>\n5 dashes black walnut bitters\u003cbr>\n1 oz Amaro Nardini\u003cbr>\n.25 tsp nutmeg\u003c/h5>\n\u003ch5>Shake ingredients together with ice and serve in an old fashioned glass over an ice cube with a frozen walnut suspended in the middle.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141406\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-400x563.jpg\" alt=\"The White Christmas\" width=\"400\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-427x600.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-839x1180.jpg 839w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-1180x1659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-960x1350.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599.jpg 1831w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The White Christmas \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The White Christmas\u003c/h3>\n\u003cp>Why dream of a white Christmas when you can drink one? To evoke the velvety texture of Bing Crosby’s voice, we blended coconut milk, white rum and elderflower liquor, and then splashed in a dash of rosewater just for good measure. Dried coconut flakes turn each glass into a miniature snow globe for your winter reveries. Top with a Bing cherry (brandied) to complete the scene.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>0.75 oz coconut milk\u003cbr>\n1.5 oz white rum\u003cbr>\n1 oz Domaine Canton ginger liqueur\u003cbr>\n0.5 oz elderflower liqueur\u003cbr>\nDash of rosewater\u003c/h5>\n\u003ch5>Shake ingredients together with ice and serve in a coupe glass rimmed with dried coconut and half filled with crushed ice. Top with a Bing cherry.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141405\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141405\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-400x409.jpg\" alt=\"The Grinch\" width=\"400\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-587x600.jpg 587w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1155x1180.jpg 1155w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1920x1962.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Grinch \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Grinch\u003c/h3>\n\u003cp>While we considered fashioning this ode to Christmas’s greenest villain with eel, cactus and arsenic sauce, our hearts softened and we mixed a drink that would make every Who in Whoville sing. The more of this you have, the less grinchy you will be. Raise a glass in honor of a heart that grew three sizes that Christmas day.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>1.5 oz tequila\u003cbr>\n1 oz absinthe\u003cbr>\n2 kiwi fruit, peeled\u003cbr>\nHandful of mint\u003c/h5>\n\u003ch5>Blend all ingredients plus a few ice cubes in a Magic Bullet or similar food processor. Pour into a Martini glass and garnish with one shriveled, dried cranberry shaped into a heart and skewered on a swizzle stick.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141408\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141408\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-400x473.jpg\" alt=\"The Jacob Marley\" width=\"400\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-400x473.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-507x600.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-998x1180.jpg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-1920x2270.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-1180x1395.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-960x1135.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Jacob Marley \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Jacob Marley\u003c/h3>\n\u003cp>Ebenezer Scrooge’s late business partner has been “as dead as a doornail” for more than 150 years. Although Marley’s ghost may be condemned to forever wander the Earth in chains, you can still conjure him with this boozy seance. Watch as the “louche effect” causes Marley’s spectral presence to materialize in your spirit glass! Shake your ice-filled tumbler and heed the death-rattle of his ghostly chains. God save us. Everyone. Repent and find some mistletoe before it’s too late.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>0.5 oz Benedictine\u003cbr>\n0.5 oz vodka\u003cbr>\n0.5 oz pastis\u003cbr>\n1.5 oz water\u003c/h5>\n\u003ch5>Pour the pastis into an old fashioned glass. Shake the vodka, water, Benedictine and a few ice cubes together. Then drip this blend into the glass of pastis slowly and watch the liquid become cloudy — that’s the louche effect in action. To evoke Marley’s ball and chain, add the ice and a Castelvetrano olive.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141527\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-400x398.jpg\" alt=\"The Away in a Manger\" width=\"400\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-603x600.jpg 603w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-1180x1174.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-1920x1910.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-960x955.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Away in a Manger \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Away in a Manger\u003c/h3>\n\u003cp>If you choose to spend the next three weeks in hiding, you may enjoy this loyal companion.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>2 oz Wild Turkey bourbon\u003cbr>\nSome straw\u003c/h5>\n\u003ch5>Pour bourbon into a whiskey glass. Garnish with straw.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11126413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Of all the great holiday traditions, there are only two that really matter: the annual outing to see \u003cem>The Nutcracker\u003c/em>, \u003cem>A Christmas Carol\u003c/em> or \u003cem>The Messiah\u003c/em>…and drinking.\u003c/p>\n\u003cp>Here at KQED Arts, we thought it would make a lot of sense to combine them. So we’ve created a bunch of tasty cocktails to help enhance your cultural pleasure this holiday season.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141407\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-400x465.jpg\" alt=\"The Nutcracker\" width=\"400\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-516x600.jpg 516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1015x1180.jpg 1015w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1920x2233.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1180x1372.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-960x1117.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Nutcracker \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Nutcracker\u003c/h3>\n\u003cp>Gird yourself for another matinee appearance of the sugarplum fairy with this robust cocktail. A comforting drink with a dark underside, The Nutcracker captures the brooding fantasy of Tchaikovsky’s ballet in a tumbler. We matched rye whiskey with the burnt orange flavors of Amaro Nardini and black walnut bitters to create a nutty tribute to the perennial holiday favorite. Perfect as a pre-curtain libation, or surreptitiously sipped from a flask in your seat. Prost!\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>1.5 oz rye whiskey\u003cbr>\n.5 oz simple syrup\u003cbr>\n5 dashes black walnut bitters\u003cbr>\n1 oz Amaro Nardini\u003cbr>\n.25 tsp nutmeg\u003c/h5>\n\u003ch5>Shake ingredients together with ice and serve in an old fashioned glass over an ice cube with a frozen walnut suspended in the middle.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141406\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-400x563.jpg\" alt=\"The White Christmas\" width=\"400\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-427x600.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-839x1180.jpg 839w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-1180x1659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-960x1350.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599.jpg 1831w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The White Christmas \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The White Christmas\u003c/h3>\n\u003cp>Why dream of a white Christmas when you can drink one? To evoke the velvety texture of Bing Crosby’s voice, we blended coconut milk, white rum and elderflower liquor, and then splashed in a dash of rosewater just for good measure. Dried coconut flakes turn each glass into a miniature snow globe for your winter reveries. Top with a Bing cherry (brandied) to complete the scene.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>0.75 oz coconut milk\u003cbr>\n1.5 oz white rum\u003cbr>\n1 oz Domaine Canton ginger liqueur\u003cbr>\n0.5 oz elderflower liqueur\u003cbr>\nDash of rosewater\u003c/h5>\n\u003ch5>Shake ingredients together with ice and serve in a coupe glass rimmed with dried coconut and half filled with crushed ice. Top with a Bing cherry.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141405\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141405\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-400x409.jpg\" alt=\"The Grinch\" width=\"400\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-587x600.jpg 587w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1155x1180.jpg 1155w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1920x1962.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Grinch \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Grinch\u003c/h3>\n\u003cp>While we considered fashioning this ode to Christmas’s greenest villain with eel, cactus and arsenic sauce, our hearts softened and we mixed a drink that would make every Who in Whoville sing. The more of this you have, the less grinchy you will be. Raise a glass in honor of a heart that grew three sizes that Christmas day.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>1.5 oz tequila\u003cbr>\n1 oz absinthe\u003cbr>\n2 kiwi fruit, peeled\u003cbr>\nHandful of mint\u003c/h5>\n\u003ch5>Blend all ingredients plus a few ice cubes in a Magic Bullet or similar food processor. Pour into a Martini glass and garnish with one shriveled, dried cranberry shaped into a heart and skewered on a swizzle stick.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141408\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141408\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-400x473.jpg\" alt=\"The Jacob Marley\" width=\"400\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-400x473.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-507x600.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-998x1180.jpg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-1920x2270.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-1180x1395.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-960x1135.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Jacob Marley \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Jacob Marley\u003c/h3>\n\u003cp>Ebenezer Scrooge’s late business partner has been “as dead as a doornail” for more than 150 years. Although Marley’s ghost may be condemned to forever wander the Earth in chains, you can still conjure him with this boozy seance. Watch as the “louche effect” causes Marley’s spectral presence to materialize in your spirit glass! Shake your ice-filled tumbler and heed the death-rattle of his ghostly chains. God save us. Everyone. Repent and find some mistletoe before it’s too late.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>0.5 oz Benedictine\u003cbr>\n0.5 oz vodka\u003cbr>\n0.5 oz pastis\u003cbr>\n1.5 oz water\u003c/h5>\n\u003ch5>Pour the pastis into an old fashioned glass. Shake the vodka, water, Benedictine and a few ice cubes together. Then drip this blend into the glass of pastis slowly and watch the liquid become cloudy — that’s the louche effect in action. To evoke Marley’s ball and chain, add the ice and a Castelvetrano olive.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141527\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-400x398.jpg\" alt=\"The Away in a Manger\" width=\"400\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-603x600.jpg 603w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-1180x1174.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-1920x1910.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-960x955.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Away in a Manger \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Away in a Manger\u003c/h3>\n\u003cp>If you choose to spend the next three weeks in hiding, you may enjoy this loyal companion.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>2 oz Wild Turkey bourbon\u003cbr>\nSome straw\u003c/h5>\n\u003ch5>Pour bourbon into a whiskey glass. Garnish with straw.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "aeroir-the-very-air-we-eat",
"title": "Smog-Infused Meringues and Tacos Tell the Truth about the Air We Eat",
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"content": "\u003cp>Around a hundred people entered the upstairs reception hall at the \u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener\">Headlands Center for the Arts\u003c/a> in Marin for cocktail hour last Thursday. A line started early at the bar. Everyone was eager to taste the specialty cocktails made for the occasion.\u003c/p>\n\u003cp>Vigorously shaking their concoctions, the bartenders draped freshly cut lace lichen in one drink, the pale green filaments undulating like seaweed in the bitters. They finished a second, sweeter one with a lemon verbena foam and fog-harvested water. Three flavors of popcorn were served up in movie-style brown paper bags: cultured dairy butter, fir tree, and sloppy joe military MREs (Meals Ready to Eat).\u003c/p>\n\u003cp>Despite all appearances to the contrary, this wasn’t an awards dinner for Bay Area locavores. \u003ci>Aeroir: A Taste of Place,\u003c/i> as the event was dubbed, is part of the Headland Center’s ongoing programming around “a creative interpretation of place.” The happenings typically include talks by artists in residence and shared meals. Conceived of by a trio of confident, purposeful artists, \u003cem>Aeroir\u003c/em> turned out to be a peculiar and disorienting amalgamation of taste and place, capped by an eccentric culinary performance art gesture aimed at raising environmental awareness.\u003c/p>\n\u003cfigure id=\"attachment_11098803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098803 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg\" alt=\"Cocktail with lace lichen (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cocktail with lace lichen (Photo: Tina Salter/KQED). \u003ccite>(Tina Salter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the five-course meal, the organizers distributed several pamphlets and menus and repeated verbal instructions throughout the night to help the audience understand what \u003cem>Aeroir\u003c/em> was about. “A Word on \u003ci>Aeroir,\u003c/i>” the main program’s two-page preface, explained most succinctly how the intangible qualities of air and sky could be ingested and even appreciated by the human palate: “The act of consuming air through our digestive apparatus, rather than passively inhaling it through our respiratory system.”\u003c/p>\n\u003cfigure id=\"attachment_11098801\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098801 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\" alt=\"The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart-400x300.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The waitstaff served up salt-baked beef, mung bean cakes, and bowls of mud-red cabbage soup with lemon foam and a soy-marbled egg to add flavor and pizzazz. But the main ingredient on the menu that night isn’t generally to be found in fancy restaurants, but rather in the air we breathe: smog.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nicola Twilley, a food writer who takes an adventurous, exploratory approach to the subject on her \u003ca href=\"http://gastropod.com/\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> and in her blog \u003ca href=\"http://www.ediblegeography.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Edible Geography\u003c/em>\u003c/a>, presided over the event, together with Gabriel Harp and Zack Denfeld of \u003ca href=\"http://genomicgastronomy.com/\" target=\"_blank\" rel=\"noopener\">The Center for Genomic Gastronomy\u003c/a> and \u003ca href=\"http://www.coclimate.com/\" target=\"_blank\" rel=\"noopener\">CoClimate\u003c/a>. Twilley explained the concept behind infusing egg-white meringues with smog fabricated by the “smog-tasting cart” that doubled as her podium.\u003c/p>\n\u003cp>They found their inspiration in Harold McGee’s book of culinary chemistry \u003cem>On Food and Cooking\u003c/em>. McGee, who was also in attendance at \u003cem>Aeroir\u003c/em>, wrote that “an egg foam is 90-percent air.” With that in mind, The Center for Genomic Gastronomy fabricated the cart as a small scale smog chamber. It creates a mixture of different pollutants that react together, resulting in the formation of smog. Each city, region and country has a specific \u003cem>Aeroir\u003c/em>, or combination of potentially harmful elements, such as hydrocarbons, soot or sulfur. Think \u003cem>terroir\u003c/em> except up above terra firma. The “structural properties of meringue batter” (all that air) easily absorb those rotten chemicals and act as the perfect vehicle to assist their studies and assault the taste buds.\u003c/p>\n\u003cfigure id=\"attachment_11098799\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098799 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg\" alt=\"L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Later, as Twilley carried a portable smog machine to “season” our unsalted tacos with the polluted contaminates found in Mexico City’s air, something akin to unease dawned on the downcast faces of the diners. When bugs showed up in the course described as “The Secret Life of Dust,” the conceptual aspect of \u003ci>Aeroir\u003c/i> was suddenly made a little too real.\u003c/p>\n\u003cfigure id=\"attachment_11098800\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098800 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg\" alt=\"Hors d'oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hors d’oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The point — gathered quickly — was that our sense of taste is affected by our immediate atmosphere, by the air and its varietals, otherwise known as contaminants. \u003ci>Aeroir\u003c/i> turned out to be a smog taste test. But were the mouths of the guests sensitive enough to distinguish the different qualities of the air pumped into those meringues? Mine certainly was: the sooty taste of Beijing’s sky was like swallowing a pocket of grit and ash in comparison with the limpid quality in the air of California’s Central Valley. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Aeroir\u003c/em> made an emphatic, unequivocal point about our poisoned, polluted skies, swallowing morsels of it, despite an agreed upon health risk waiver, excited a blistering headache and a bout of nausea in at least one guest. This must have been how Persephone felt in Hades after eating those forbidden seeds, regretful of the curiosity and greedy appetite which led to breathing in such dark oxygen.\u003c/p>\n\n",
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"headline": "Smog-Infused Meringues and Tacos Tell the Truth about the Air We Eat",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Around a hundred people entered the upstairs reception hall at the \u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener\">Headlands Center for the Arts\u003c/a> in Marin for cocktail hour last Thursday. A line started early at the bar. Everyone was eager to taste the specialty cocktails made for the occasion.\u003c/p>\n\u003cp>Vigorously shaking their concoctions, the bartenders draped freshly cut lace lichen in one drink, the pale green filaments undulating like seaweed in the bitters. They finished a second, sweeter one with a lemon verbena foam and fog-harvested water. Three flavors of popcorn were served up in movie-style brown paper bags: cultured dairy butter, fir tree, and sloppy joe military MREs (Meals Ready to Eat).\u003c/p>\n\u003cp>Despite all appearances to the contrary, this wasn’t an awards dinner for Bay Area locavores. \u003ci>Aeroir: A Taste of Place,\u003c/i> as the event was dubbed, is part of the Headland Center’s ongoing programming around “a creative interpretation of place.” The happenings typically include talks by artists in residence and shared meals. Conceived of by a trio of confident, purposeful artists, \u003cem>Aeroir\u003c/em> turned out to be a peculiar and disorienting amalgamation of taste and place, capped by an eccentric culinary performance art gesture aimed at raising environmental awareness.\u003c/p>\n\u003cfigure id=\"attachment_11098803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098803 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg\" alt=\"Cocktail with lace lichen (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cocktail with lace lichen (Photo: Tina Salter/KQED). \u003ccite>(Tina Salter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the five-course meal, the organizers distributed several pamphlets and menus and repeated verbal instructions throughout the night to help the audience understand what \u003cem>Aeroir\u003c/em> was about. “A Word on \u003ci>Aeroir,\u003c/i>” the main program’s two-page preface, explained most succinctly how the intangible qualities of air and sky could be ingested and even appreciated by the human palate: “The act of consuming air through our digestive apparatus, rather than passively inhaling it through our respiratory system.”\u003c/p>\n\u003cfigure id=\"attachment_11098801\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098801 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\" alt=\"The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart-400x300.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The waitstaff served up salt-baked beef, mung bean cakes, and bowls of mud-red cabbage soup with lemon foam and a soy-marbled egg to add flavor and pizzazz. But the main ingredient on the menu that night isn’t generally to be found in fancy restaurants, but rather in the air we breathe: smog.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nicola Twilley, a food writer who takes an adventurous, exploratory approach to the subject on her \u003ca href=\"http://gastropod.com/\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> and in her blog \u003ca href=\"http://www.ediblegeography.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Edible Geography\u003c/em>\u003c/a>, presided over the event, together with Gabriel Harp and Zack Denfeld of \u003ca href=\"http://genomicgastronomy.com/\" target=\"_blank\" rel=\"noopener\">The Center for Genomic Gastronomy\u003c/a> and \u003ca href=\"http://www.coclimate.com/\" target=\"_blank\" rel=\"noopener\">CoClimate\u003c/a>. Twilley explained the concept behind infusing egg-white meringues with smog fabricated by the “smog-tasting cart” that doubled as her podium.\u003c/p>\n\u003cp>They found their inspiration in Harold McGee’s book of culinary chemistry \u003cem>On Food and Cooking\u003c/em>. McGee, who was also in attendance at \u003cem>Aeroir\u003c/em>, wrote that “an egg foam is 90-percent air.” With that in mind, The Center for Genomic Gastronomy fabricated the cart as a small scale smog chamber. It creates a mixture of different pollutants that react together, resulting in the formation of smog. Each city, region and country has a specific \u003cem>Aeroir\u003c/em>, or combination of potentially harmful elements, such as hydrocarbons, soot or sulfur. Think \u003cem>terroir\u003c/em> except up above terra firma. The “structural properties of meringue batter” (all that air) easily absorb those rotten chemicals and act as the perfect vehicle to assist their studies and assault the taste buds.\u003c/p>\n\u003cfigure id=\"attachment_11098799\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098799 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg\" alt=\"L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Later, as Twilley carried a portable smog machine to “season” our unsalted tacos with the polluted contaminates found in Mexico City’s air, something akin to unease dawned on the downcast faces of the diners. When bugs showed up in the course described as “The Secret Life of Dust,” the conceptual aspect of \u003ci>Aeroir\u003c/i> was suddenly made a little too real.\u003c/p>\n\u003cfigure id=\"attachment_11098800\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098800 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg\" alt=\"Hors d'oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hors d’oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The point — gathered quickly — was that our sense of taste is affected by our immediate atmosphere, by the air and its varietals, otherwise known as contaminants. \u003ci>Aeroir\u003c/i> turned out to be a smog taste test. But were the mouths of the guests sensitive enough to distinguish the different qualities of the air pumped into those meringues? Mine certainly was: the sooty taste of Beijing’s sky was like swallowing a pocket of grit and ash in comparison with the limpid quality in the air of California’s Central Valley. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Aeroir\u003c/em> made an emphatic, unequivocal point about our poisoned, polluted skies, swallowing morsels of it, despite an agreed upon health risk waiver, excited a blistering headache and a bout of nausea in at least one guest. This must have been how Persephone felt in Hades after eating those forbidden seeds, regretful of the curiosity and greedy appetite which led to breathing in such dark oxygen.\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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"mindshift": {
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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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"order": 12
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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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"perspectives": {
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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.",
"airtime": "SUN 2pm",
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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.",
"airtime": "MON-FRI 2pm-3pm",
"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.",
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