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But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vFUD8b-BZCc\u003c/p>\n\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=oEm1c-sBRfY\u003c/p>\n\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=Oo_6Fb5k2lo\u003c/p>\n\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>[aside postid='pop_106535']Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=RIRVOepV9Ik\u003c/p>\n\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=ydLJtKlVVZw\u003c/p>\n\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>[aside postid=’arts_[aside postid='arts_13936524']‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=fUyunS1hGyQ\u003c/p>\n\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vc_0dlmSq7I\u003c/p>\n\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\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/vFUD8b-BZCc'\n title='//www.youtube.com/embed/vFUD8b-BZCc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\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/oEm1c-sBRfY'\n title='//www.youtube.com/embed/oEm1c-sBRfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\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/Oo_6Fb5k2lo'\n title='//www.youtube.com/embed/Oo_6Fb5k2lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\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/RIRVOepV9Ik'\n title='//www.youtube.com/embed/RIRVOepV9Ik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\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/ydLJtKlVVZw'\n title='//www.youtube.com/embed/ydLJtKlVVZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\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/fUyunS1hGyQ'\n title='//www.youtube.com/embed/fUyunS1hGyQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\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/vc_0dlmSq7I'\n title='//www.youtube.com/embed/vc_0dlmSq7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For This 18-Year-Old Skater, the Paris Olympics Are Just the Beginning",
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"content": "\u003cp>From the street, Minna Stess’ Petaluma home fits right in with the other houses on the block. Sitting in her backyard on a sunny Monday afternoon, dressed in a black T-shirt and shorts, purple socks and Vans, the 18-year-old looks like almost any other suburban skate kid.\u003c/p>\n\u003cp>There’s just one difference: Stess is about to fly to Paris to compete in \u003ca href=\"https://www.kqed.org/news/11993783/paris-2024-olympic-games-san-francisco-bay-area-athletes-competing\">the 2024 Olympics\u003c/a>.\u003c/p>\n\u003cp>In Paris, Stess will represent the United States in skateboarding, which became an Olympic sport just four years ago. To vie for the gold on the U.S. women’s team on a relatively new Olympic field, and on a global stage no less, the stakes couldn’t be higher.\u003c/p>\n\u003cfigure id=\"attachment_13961525\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess, 18, skates in her Petaluma backyard on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet when I meet with her, 24 hours before she gets on an airplane for the biggest competition of her young career, Stess remains easygoing and calm. Nonchalant, even. After all, she says, no matter how hard she tries, she can’t remember a time when she didn’t skate.\u003c/p>\n\u003ch2>Turning Pro at 11\u003c/h2>\n\u003cp>Stess’ backyard is no ordinary backyard. The majority of it is taken up by a custom-built mini-skatepark, built in 2012. Back then, its three-foot transitions were plenty high for six-year-old Stess. Wanting to copy her older brother Finnley, she’d gotten into skating four years earlier, around age 2.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sitting on a bench seat on the backyard deck, Stess tells me her parents had a wooden ramp put in before the concrete park, but they got tired of throwing tarps over it every time it rained. The family celebrated the new concrete park’s completion by stepping their feet into the wet concrete before it dried. You can still see Stess’ tiny, classic Vans imprint.\u003c/p>\n\u003cfigure id=\"attachment_13961550\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess’s shoe imprints (at left) at her home in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having her own backyard park was an asset in a city that didn’t have many skateparks while Stess was growing up. She skated the ramps at the \u003ca href=\"https://www.kqed.org/news/11954041/teens-helped-save-this-historic-bay-area-theater-by-making-it-their-own\">Phoenix Theater\u003c/a>, a downtown music venue and teen hangout, and got involved with skate contests put on by the California Amateur Skateboard League, even though they required long car rides.\u003c/p>\n\u003cp>An admirer of Brazilian-American skater Bob Burnquist and his skating style, Stess entered more amateur contests, winning her first by the time she turned eight. She turned pro around age 11, and soon started making appearances at some of the biggest contests around: the Dew Tour, the X Games and the USA National Championships. Along the way, she found herself drawn to park skating, a discipline which combines multiple styles like bowl, street and vert.\u003c/p>\n\u003cp>“I like airing out of things and flying high,” Stess says. “Park is definitely my favorite. I prefer it to literally everything.”\u003c/p>\n\u003cfigure id=\"attachment_13961546\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961546\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Minna Stess, 18, poses for a portrait at her home in Petaluma on July 22, 2024. Stess is headed to the 2024 Summer Olympics to represent the U.S in women’s skateboarding. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kickflipping Her Way to the Olympics\u003c/h2>\n\u003cp>Her career continued to take flight, too, as Stess was chosen for the USA Skateboarding Women’s Park National Team in 2019. In 2021, she won the USA National Championships’ Women’s Park competition, becoming its youngest champion at age 15. And though she didn’t get to compete, Stess was named as an alternate for Team USA in the 2021 Olympic games.\u003c/p>\n\u003cp>Stess’ path to the Olympics has been one filled with epic highs and lows. One of the lows came in May, when she entered an Olympic qualifier in Shanghai, China, and fell during all three of her runs. It was something she’d never done before, she tells me.\u003c/p>\n\u003cp>“I was like, ‘Okay, I can’t do that again,’” says Stess. “I kind of like, cracked under pressure, I guess.”\u003c/p>\n\u003cfigure id=\"attachment_13961527\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess holds up her skateboard with slide marks in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her final Olympic Qualifier Series contest was held last month in Budapest, Hungary, and it quickly became just as nerve-wracking as her experience in Shanghai. She fell during her first two runs, and was feeling the pressure with just one run left. “I couldn’t watch anyone skate. I was like, pacing in circles,” reflecting back on her runs, she says. She had the support of the crowd and her competitors, though, who cheered loudly for her right before that fateful final run.\u003c/p>\n\u003cp>“Even the Brazilians were hyped,” she says. “And if the Brazilians are cheering for you, you know you did something right.”\u003c/p>\n\u003cp>She made it through her final run without falling, and even though her score wasn’t as high as she’d hoped, it was enough. Stess had punched her ticket to Paris.\u003c/p>\n\u003cfigure id=\"attachment_13961547\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed.jpg\" alt=\"\" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1920x1269.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess poses for a photo with her parents Andrew and Moniz at their home in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Family Affair\u003c/h2>\n\u003cp>For the duration of the Games, Stess will stay at the Olympic Village, sharing a room with a member of the street skating team. Her family will be close by in case she needs an escape; her parents, thinking ahead, booked a four-bedroom Paris home eight months ago for themselves, Stess’ brother, her uncle, her aunt and even her 87-year-old grandma.\u003c/p>\n\u003cp>“We never plan this far ahead for anything,” says her mother, Moniz Stess. Due to skateboarding’s very on-the-fly nature, she explains, it’s hard to plan lodging and plane tickets in advance. They waited to book their plane tickets until Stess knew whether or not she was Olympics-bound, but they still booked the house, just in case.\u003c/p>\n\u003cp>[aside postID='arts_13899344']It was a hunch that paid off, and Stess’ parents couldn’t be more proud.\u003c/p>\n\u003cp>“I drive Minna crazy using the word ‘journey,’ but it has been just that,” says her father, Andrew Stess. “It–” his voice breaks a little. “I can’t talk about it without getting teary-eyed. You see your kid loves something, and you want to–”\u003c/p>\n\u003cp>Just then, his face suddenly softens as he spots Stess, who’s been half-tuned in from the other side of the skatepark. “She’s laughing at me,” he smiles.\u003c/p>\n\u003cfigure id=\"attachment_13961545\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Minna Stess, 18, takes a break from skating at her home in Petaluma on July 22, 2024. Stess will compete in the 2024 Summer Olympics, representing the U.S in women’s skateboarding. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staying ‘In the Moment’\u003c/h2>\n\u003cp>Stess’ family has always been extremely supportive of her career, and have managed to find routine amidst the hectic nature of pro contest skating. “People probably thought we were nuts with, you know, us hopping in the car on weekends and driving the kids wherever, to go to whatever contest,” says Moniz. “But skateboarding for us is just normal.”\u003c/p>\n\u003cp>Stess, too, has learned to balance staying competitive while also avoiding burnout. “I’m lucky, because I live in Petaluma, and most of the skating stuff is down in Southern California,” she says. “It’s kind of like going back and forth between two worlds.” Her friends, too, are a big source of support. Some are skaters like her, others don’t skate at all. “Being with them is kind of like a refresher,” she says.\u003c/p>\n\u003cp>[aside postID='arts_13931352']With the days counting down to her Olympic preliminary contest, the skater feels confident both mentally and physically. “I definitely feel better than I did when I got back from Budapest,” she says. “I’m excited to go.” As for how she processes all the emotions that come from being a pro athlete on the world stage, “I try not to think of the consequences of things and just like, be in the moment,” she tells me. “You want to land your run, but sometimes you gotta realize like, not everything’s going to go right.”\u003c/p>\n\u003cp>I ask if she’s prepared her runs yet, but she knows anything she plans on paper will likely have to be tweaked once she gets a feel for the park firsthand. For now, she’s looking forward to watching the street skaters practice and doing a bit of \u003ca href=\"https://olympics.com/en/news/paris-2024-olympics-i-traded-pins-with-simone-biles\">Olympic pin trading\u003c/a>.\u003c/p>\n\u003cp>She has one other hope, too. Her Olympic Village roommate had to buy blinds for their dorm, and they apparently keep falling down.\u003c/p>\n\u003cp>“So I hope they stay up,” Stess says, “so I can get a good night’s sleep.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Minna Stess competes in the \u003ca href=\"https://olympics.com/en/paris-2024/schedule/skateboarding/women-s-park?day=6-august\">Olympic Skateboarding Women’s Park Preliminaries on Tuesday, Aug. 6\u003c/a>. The event will be broadcast at 3:30 a.m. Pacific Time. The Women’s Final airs at 8:30 a.m. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the street, Minna Stess’ Petaluma home fits right in with the other houses on the block. Sitting in her backyard on a sunny Monday afternoon, dressed in a black T-shirt and shorts, purple socks and Vans, the 18-year-old looks like almost any other suburban skate kid.\u003c/p>\n\u003cp>There’s just one difference: Stess is about to fly to Paris to compete in \u003ca href=\"https://www.kqed.org/news/11993783/paris-2024-olympic-games-san-francisco-bay-area-athletes-competing\">the 2024 Olympics\u003c/a>.\u003c/p>\n\u003cp>In Paris, Stess will represent the United States in skateboarding, which became an Olympic sport just four years ago. To vie for the gold on the U.S. women’s team on a relatively new Olympic field, and on a global stage no less, the stakes couldn’t be higher.\u003c/p>\n\u003cfigure id=\"attachment_13961525\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess, 18, skates in her Petaluma backyard on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet when I meet with her, 24 hours before she gets on an airplane for the biggest competition of her young career, Stess remains easygoing and calm. Nonchalant, even. After all, she says, no matter how hard she tries, she can’t remember a time when she didn’t skate.\u003c/p>\n\u003ch2>Turning Pro at 11\u003c/h2>\n\u003cp>Stess’ backyard is no ordinary backyard. The majority of it is taken up by a custom-built mini-skatepark, built in 2012. Back then, its three-foot transitions were plenty high for six-year-old Stess. Wanting to copy her older brother Finnley, she’d gotten into skating four years earlier, around age 2.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sitting on a bench seat on the backyard deck, Stess tells me her parents had a wooden ramp put in before the concrete park, but they got tired of throwing tarps over it every time it rained. The family celebrated the new concrete park’s completion by stepping their feet into the wet concrete before it dried. You can still see Stess’ tiny, classic Vans imprint.\u003c/p>\n\u003cfigure id=\"attachment_13961550\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess’s shoe imprints (at left) at her home in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having her own backyard park was an asset in a city that didn’t have many skateparks while Stess was growing up. She skated the ramps at the \u003ca href=\"https://www.kqed.org/news/11954041/teens-helped-save-this-historic-bay-area-theater-by-making-it-their-own\">Phoenix Theater\u003c/a>, a downtown music venue and teen hangout, and got involved with skate contests put on by the California Amateur Skateboard League, even though they required long car rides.\u003c/p>\n\u003cp>An admirer of Brazilian-American skater Bob Burnquist and his skating style, Stess entered more amateur contests, winning her first by the time she turned eight. She turned pro around age 11, and soon started making appearances at some of the biggest contests around: the Dew Tour, the X Games and the USA National Championships. Along the way, she found herself drawn to park skating, a discipline which combines multiple styles like bowl, street and vert.\u003c/p>\n\u003cp>“I like airing out of things and flying high,” Stess says. “Park is definitely my favorite. I prefer it to literally everything.”\u003c/p>\n\u003cfigure id=\"attachment_13961546\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961546\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Minna Stess, 18, poses for a portrait at her home in Petaluma on July 22, 2024. Stess is headed to the 2024 Summer Olympics to represent the U.S in women’s skateboarding. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kickflipping Her Way to the Olympics\u003c/h2>\n\u003cp>Her career continued to take flight, too, as Stess was chosen for the USA Skateboarding Women’s Park National Team in 2019. In 2021, she won the USA National Championships’ Women’s Park competition, becoming its youngest champion at age 15. And though she didn’t get to compete, Stess was named as an alternate for Team USA in the 2021 Olympic games.\u003c/p>\n\u003cp>Stess’ path to the Olympics has been one filled with epic highs and lows. One of the lows came in May, when she entered an Olympic qualifier in Shanghai, China, and fell during all three of her runs. It was something she’d never done before, she tells me.\u003c/p>\n\u003cp>“I was like, ‘Okay, I can’t do that again,’” says Stess. “I kind of like, cracked under pressure, I guess.”\u003c/p>\n\u003cfigure id=\"attachment_13961527\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess holds up her skateboard with slide marks in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her final Olympic Qualifier Series contest was held last month in Budapest, Hungary, and it quickly became just as nerve-wracking as her experience in Shanghai. She fell during her first two runs, and was feeling the pressure with just one run left. “I couldn’t watch anyone skate. I was like, pacing in circles,” reflecting back on her runs, she says. She had the support of the crowd and her competitors, though, who cheered loudly for her right before that fateful final run.\u003c/p>\n\u003cp>“Even the Brazilians were hyped,” she says. “And if the Brazilians are cheering for you, you know you did something right.”\u003c/p>\n\u003cp>She made it through her final run without falling, and even though her score wasn’t as high as she’d hoped, it was enough. Stess had punched her ticket to Paris.\u003c/p>\n\u003cfigure id=\"attachment_13961547\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed.jpg\" alt=\"\" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1920x1269.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess poses for a photo with her parents Andrew and Moniz at their home in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Family Affair\u003c/h2>\n\u003cp>For the duration of the Games, Stess will stay at the Olympic Village, sharing a room with a member of the street skating team. Her family will be close by in case she needs an escape; her parents, thinking ahead, booked a four-bedroom Paris home eight months ago for themselves, Stess’ brother, her uncle, her aunt and even her 87-year-old grandma.\u003c/p>\n\u003cp>“We never plan this far ahead for anything,” says her mother, Moniz Stess. Due to skateboarding’s very on-the-fly nature, she explains, it’s hard to plan lodging and plane tickets in advance. They waited to book their plane tickets until Stess knew whether or not she was Olympics-bound, but they still booked the house, just in case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was a hunch that paid off, and Stess’ parents couldn’t be more proud.\u003c/p>\n\u003cp>“I drive Minna crazy using the word ‘journey,’ but it has been just that,” says her father, Andrew Stess. “It–” his voice breaks a little. “I can’t talk about it without getting teary-eyed. You see your kid loves something, and you want to–”\u003c/p>\n\u003cp>Just then, his face suddenly softens as he spots Stess, who’s been half-tuned in from the other side of the skatepark. “She’s laughing at me,” he smiles.\u003c/p>\n\u003cfigure id=\"attachment_13961545\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Minna Stess, 18, takes a break from skating at her home in Petaluma on July 22, 2024. Stess will compete in the 2024 Summer Olympics, representing the U.S in women’s skateboarding. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staying ‘In the Moment’\u003c/h2>\n\u003cp>Stess’ family has always been extremely supportive of her career, and have managed to find routine amidst the hectic nature of pro contest skating. “People probably thought we were nuts with, you know, us hopping in the car on weekends and driving the kids wherever, to go to whatever contest,” says Moniz. “But skateboarding for us is just normal.”\u003c/p>\n\u003cp>Stess, too, has learned to balance staying competitive while also avoiding burnout. “I’m lucky, because I live in Petaluma, and most of the skating stuff is down in Southern California,” she says. “It’s kind of like going back and forth between two worlds.” Her friends, too, are a big source of support. Some are skaters like her, others don’t skate at all. “Being with them is kind of like a refresher,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With the days counting down to her Olympic preliminary contest, the skater feels confident both mentally and physically. “I definitely feel better than I did when I got back from Budapest,” she says. “I’m excited to go.” As for how she processes all the emotions that come from being a pro athlete on the world stage, “I try not to think of the consequences of things and just like, be in the moment,” she tells me. “You want to land your run, but sometimes you gotta realize like, not everything’s going to go right.”\u003c/p>\n\u003cp>I ask if she’s prepared her runs yet, but she knows anything she plans on paper will likely have to be tweaked once she gets a feel for the park firsthand. For now, she’s looking forward to watching the street skaters practice and doing a bit of \u003ca href=\"https://olympics.com/en/news/paris-2024-olympics-i-traded-pins-with-simone-biles\">Olympic pin trading\u003c/a>.\u003c/p>\n\u003cp>She has one other hope, too. Her Olympic Village roommate had to buy blinds for their dorm, and they apparently keep falling down.\u003c/p>\n\u003cp>“So I hope they stay up,” Stess says, “so I can get a good night’s sleep.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Minna Stess competes in the \u003ca href=\"https://olympics.com/en/paris-2024/schedule/skateboarding/women-s-park?day=6-august\">Olympic Skateboarding Women’s Park Preliminaries on Tuesday, Aug. 6\u003c/a>. The event will be broadcast at 3:30 a.m. Pacific Time. The Women’s Final airs at 8:30 a.m. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mishmish-vegan-palestinian-pop-up",
"title": "Mishmish Reimagines Family-Style Palestinian Bites for Bay Area Vegans",
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"headTitle": "Mishmish Reimagines Family-Style Palestinian Bites for Bay Area Vegans | KQED",
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"content": "\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>I love the East Bay. On a spring afternoon, you can wander into an Oakland punk bar with an outdoor patio to enjoy a cocktail with a longtime friend and discuss the rise of artificial intelligence with a stranger at your table — all while sharing plates of fattoush (an Arabic salad) and foul medammes (a fava bean dip served with oil and pita bread) beneath the hazy sun.\u003c/p>\n\u003cp>Slow moments like this are welcomed in our fast-paced world — a chance to check in, make new connections and nourish a sense of self-care and community through an exchange of cultural lessons and life experiences. And, at least for this particular dive bar pop-up, \u003ca href=\"https://www.instagram.com/mishmishsouq/\">Mishmish\u003c/a> — Michelle Nazzal’s take on vegan Palestinian recipes with a Bay Area lens — is at the center of it all.\u003c/p>\n\u003cp>Historically, \u003ca href=\"https://decolonizepalestine.com/intro/palestine-throughout-history/\">Palestine and its diaspora have had to fight to resist erasure and preserve their identity\u003c/a>. Nazzal’s grandparents immigrated from Palestine to San Francisco in the 1960s, and her family has long used food as a way to sustain themselves and those around them. After opening Arabic markets around the city, the family eventually moved to Petaluma, where Nazzal grew up taking notes on her grandmother’s cooking.\u003c/p>\n\u003cp>For Nazzal, who is mixed white and Palestinian, food transcends a mere meal. Instead, it becomes a way to acknowledge the resilience of others, a conduit to pass down sacred knowledge and a gathering point for intergenerational optimism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After stopping by \u003ca href=\"https://www.instagram.com/elismilehighclub/\">Eli’s Mile High Club\u003c/a> — where the pop-up ran throughout April — to experience Mishmish, I asked Nazzal about her connection to Palestine, Northern California and her grandmother’s recipes.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Let’s start with “Mishmish.” What does that concept mean for you, and how did it turn into a food pop-up?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Michelle Nazzal: \u003c/b>It’s something that’s very personal to me. It means “apricot” in Arabic. [But it’s also] a nickname my grandpa gave me as a kid. People in my family call me that.\u003c/p>\n\u003cp>When I was putting together Mishmish, it started out in a different format. I was a graphic designer [at the time] and I was thinking of ways to document food. I spent time with my grandma and wanted to catalog it. It started out as a [PDF] cookbook project, a personal thing with family photos and things like that. It sort of became a thing where I made food for friends, and they asked if I had a pop-up. My parents had a grocery and deli around San Francisco but I hadn’t thought about getting into making food. It’s different [from the family’s market]. It’s Palestinian and vegan. A lot of Palestinian food is innately vegan, but I took time to change recipes that are usually meat-centric. It started out in 2021.\u003c/p>\n\u003cfigure id=\"attachment_13928353\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928353\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/uag2vFZW.jpg-large.jpeg\" alt=\"a tray of Palestinian food is served at an outdoor patio in Oakland\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Foul medammes and fattoush served with a sweet pastry and pita bread. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In thinking about how I want Mishmish to feel, it’s welcoming and community-based. Providing things that are authentic and mostly traditional and hard to find, things I grew up with that are weird and niche, like jameed, a dried yogurt ball. It’s a really big process, but there’s no vegan version of that. I want to figure that out and offer it. Having my own twist on things that I’ve discovered and played around with as a vegan [that incorporate] other Arabic flavors as well.\u003c/p>\n\u003cp>\u003cb>Are apricots common in Palestinian food?\u003c/b>\u003c/p>\n\u003cp>Apricots are used frequently in desserts. You can get it in Turkish delight, puddings are made from or topped with it, compotes, jams. [It’s used] as a sweet component. There’s also a saying in Arabic, “Bukra fil mish-mish.” The season for apricots is so quick. They ripen and go bad really quickly. It’s a saying everyone always says. It’s like saying “when pigs fly.”\u003c/p>\n\u003cp>\u003cb>When did your family migrate from Palestine to the Bay Area, and in what ways has food been passed on throughout that transition?\u003c/b>\u003c/p>\n\u003cp>I grew up with this food because of my grandma. My grandparents immigrated here in the ‘60s with a rich culture and background and all their recipes. When \u003ca href=\"https://www.history.com/this-day-in-history/u-n-votes-for-partition-of-palestine\">the partition happened in the ‘40s\u003c/a>, my grandma was expelled from the land, which is now Tel Aviv. They decided they wanted to give the family a bit of a better life. A lot of [Palestinians] moved in the ‘60s. My family moved directly to San Francisco, around Cole Valley. They lived in one building, one family per floor, but all our family was together. My dad got to grow up with his first cousins in the same building.\u003c/p>\n\u003cfigure id=\"attachment_13928382\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Tete_RichmondMarket-1.jpg\" alt='Old black-and-white photo of a woman standing inside a deli/market; a neon sign in back reads, \"Burgie!\"' width=\"1920\" height=\"1321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-1536x1057.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nazzal’s grandmother, Laurain Nazzal, inside the market her family used to run at 41st and Balboa in San Francisco. \u003ccite>(Courtesy of Michelle Nazzal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My grandma grew up on a farm in Jericho, raising her food and livestock. The perspective she brings to [foodmaking] is from her region. My grandma taught me how to break down a vegetable or animal [because] it all has a purpose. We honor it. There’s something special about that. She showed me how to make a lot of things fully from scratch. There’s a tenderness and slowness to that. It can take multiple days; it’s involved and hands-on to prepare a big dish. It’s so community-based and community-oriented. Palestinians have a connection to the soil and agriculture which has been passed down through generations.\u003c/p>\n\u003cp>Growing up in the diaspora and having never gone to Palestine has been challenging, so my direct connection is through food and recipes. That’s how I connect to ancestral things I’ve inherited from my family.\u003c/p>\n\u003cp>\u003cb>Why is it important for you to serve Palestinian food in today’s Bay Area?\u003c/b>\u003c/p>\n\u003cp>There’s so much erasure happening with Palestine — the people, culture, land. Being in diaspora, you’re one step removed from everything, and the further you get and water it down, the more it gets diluted and starts disappearing. In the diaspora, it’s a good idea for us to represent those roots.\u003c/p>\n\u003cfigure id=\"attachment_13928383\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/mishmish_nazzal.jpg\" alt=\"Tattooed woman wearing black plastic gloves prepares a plate of rice inside a restaurant kitchen.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nazzal says she wants to introduce diners to Palestinian dishes that go beyond the usual hummus and shawarma. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My family comes from a Christian background, and there are a lot of Christian Palestinians in the Bay — especially in San Francisco, San Jose. If we went to a market, we knew people were Palestinian but it was never broadly announced. It’s challenging to honor your background as a small business owner, making sure it doesn’t affect your business. It was more challenging perhaps to do that back then, but it’s important to me to make that an essential part of what I’m doing. I don’t shy away from it. I have a punk and anarchist background so it’s important to honor that. Sharing my food, that’s important. Removing Palestine from it isn’t doing justice to the sacrifices my family has made.\u003c/p>\n\u003cp>\u003cb>What challenges have you faced as a Palestinian American food maker?\u003c/b>\u003c/p>\n\u003cp>When people think of places like the Arab region there tends to be a stereotype about the people or how the food will taste. With Arab food people default to shawarma, falafel, hummus. But there’s so much nuance to our food. It’s challenging when you have a pop-up because there are certain expectations to [serve] things like hummus. But I don’t always want to give that to people. I want to share dishes I grew up with that are special to me.\u003c/p>\n\u003cp>\u003cb>What’s the most popular item you serve at Mishmish? And what’s an example of a traditional Palestinian dish that represents comfort for you?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13928355\" class=\"wp-caption alignright\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg\" alt=\"\" width=\"1366\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1025x1536.jpeg 1025w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Bazella, a carrot and green pea stew, served at Mishmish. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My cashew labneh is a big hit. People who are lactose intolerant or maybe have never had labneh before love it. I’ve been a vegetarian for a long time and went vegan five or six years ago. I had to figure out how to replace knafeh, which is a cheese-based dessert, and labneh [with vegan substitutes]. That’s really special for me to share with people who have a similar background to experience and invoke those memories, but also for those who haven’t had it before to introduce those flavors.\u003c/p>\n\u003cp>Depending upon where you’re from in Palestinian, there are very regional dishes. Labneh is, traditionally, yogurt that has been salted over time and fermented for over a week or so. Knafeh is very Palestinian, from Nablus. My family uses sweet and salty cheese and dough, like shredded filo, with orange powder and butter for a crunchy effect. It gets baked and dusted in sugar — it’s syrupy, very sweet, salty, crunchy. Depending on which region you’re from, they will make it differently. In Gaza they don’t use cheese; they make more of a baklava filling with spiced walnuts and pistachios. But it’s specifically Palestinian.\u003c/p>\n\u003cp>There are variations [of similar dishes in other regions]. Labneh, hummus, falafel — a lot of people in Lebanon, Syria, Iraq and Yemen, they all make similar food. But it’s important to highlight things that are specific to your culture, to make those differentiations. That’s important to me with Mishmish — to make dishes that have inspirations, maybe from Persian food or other Arab countries that are adjacent to Palestine, but I want to make sure to make that differentiation.\u003c/p>\n\u003cfigure id=\"attachment_13928354\" class=\"wp-caption alignleft\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/KU86MpD2.jpg-medium.jpeg\" alt=\"a menu for Mishmish, a Palestinian pop-up, offers a variety of family-style plates\" width=\"750\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/KU86MpD2.jpg-medium.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/KU86MpD2.jpg-medium-160x236.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Mishmish offers a rotating array of Palestinian and SSWANA-inspired vegan foods. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has growing up in San Francisco and Petaluma influenced your approach to food?\u003c/b>\u003c/p>\n\u003cp>I sometimes take special trips around the Bay to get something I’m specifically looking for. I remember being a kid and taking Muni with my grandma and going to different Filipino vendors to find things that are similar in our cultures. My grandma would find the closest possible thing to use in her cooking. That’s really special — being able to adapt and support other people and cultures. It’s a cool cross-cultural way of honoring food. It gives you a wider appreciation.\u003c/p>\n\u003cp>A few businesses here are an inspiration for me. \u003ca href=\"https://www.instagram.com/queens_sf/?hl=en\">Queens\u003c/a> in San Francisco, a Korean market. They make and vend Korean foods and ingredients you can’t really find anywhere else. \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a>, of course, is an amazing Arab street food place and bakery. I love their idea of creating equitable workplaces for people. That’s important to how I structure my business and how I want to hire and provide a safe work environment for people who are paid well. I also like \u003ca href=\"https://www.instagram.com/liondancecafe/\">Lion Dance\u003c/a> — they’re a vegan Singaporean restaurant here in Oakland. I appreciate their approach. One of the owners is Singaporean and the other is Italian, so they’ve created a beautiful menu that honors the authenticity of their foods and cultures. I celebrate that and want to see that more for SSWANA people.\u003c/p>\n\u003cp>\u003cb>What’s SSWANA?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13918017,arts_13925984,arts_13920581']\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13918017/jeweled-rice-art-persian-food-sswana-middle-eastern-pop-up\">SSWANA\u003c/a> means South Asian, Southwest Asian and North African. When you think of Middle Eastern versus SSWANA, SSWANA is actually more accurate. Middle Eastern is a colonized word and term that was created by people who aren’t Arab. I’m trying to help change that narrative by changing my vocabulary. I’ve had a wild experience filling out my ethnicity on census forms.\u003c/p>\n\u003cp>\u003cb>That’s dope, I didn’t know that. I think specificity is important for the liberation of all groups. What’s next on your food journey?\u003c/b>\u003c/p>\n\u003cp>It feels good to see where I’ve gone without any [formal] cooking background. I’ve cooked with my family throughout my life, but by figuring out how to make food to order and things like that, I’ve made progress. I’m always wondering: What feels good? How do I want to move forward? What that means for me right now is I’ll probably move away from the pop-up format and go into farmers markets and package my food and eventually keep building toward my brick-and-mortar grocery and deli. When I first started out I didn’t have the intention of it being a full-blown food project, but it went on that trajectory.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.mishmishsouq.com/\">\u003ci>Mishmish\u003c/i>\u003c/a>\u003ci> operates as a roaming pop-up around the Bay Area. \u003c/i>\u003ca href=\"https://www.instagram.com/mishmishsouq/?hl=en\">\u003ci>Check online\u003c/i>\u003c/a>\u003ci> for updates on locations and menus. They appear every second Sunday of the month at Birba Wine Bar (458 Grove St., San Francisco) from 1–8 p.m. They will also pop up at\u003c/i> \u003ci>Millennium Restaurant (5912 College Ave., Oakland) on Sun., May 21 from 11 a.m. to 2 p.m., and Abacus Row (1256 Mason St., San Francisco) on Sat., June 24, time TBD.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>I love the East Bay. On a spring afternoon, you can wander into an Oakland punk bar with an outdoor patio to enjoy a cocktail with a longtime friend and discuss the rise of artificial intelligence with a stranger at your table — all while sharing plates of fattoush (an Arabic salad) and foul medammes (a fava bean dip served with oil and pita bread) beneath the hazy sun.\u003c/p>\n\u003cp>Slow moments like this are welcomed in our fast-paced world — a chance to check in, make new connections and nourish a sense of self-care and community through an exchange of cultural lessons and life experiences. And, at least for this particular dive bar pop-up, \u003ca href=\"https://www.instagram.com/mishmishsouq/\">Mishmish\u003c/a> — Michelle Nazzal’s take on vegan Palestinian recipes with a Bay Area lens — is at the center of it all.\u003c/p>\n\u003cp>Historically, \u003ca href=\"https://decolonizepalestine.com/intro/palestine-throughout-history/\">Palestine and its diaspora have had to fight to resist erasure and preserve their identity\u003c/a>. Nazzal’s grandparents immigrated from Palestine to San Francisco in the 1960s, and her family has long used food as a way to sustain themselves and those around them. After opening Arabic markets around the city, the family eventually moved to Petaluma, where Nazzal grew up taking notes on her grandmother’s cooking.\u003c/p>\n\u003cp>For Nazzal, who is mixed white and Palestinian, food transcends a mere meal. Instead, it becomes a way to acknowledge the resilience of others, a conduit to pass down sacred knowledge and a gathering point for intergenerational optimism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After stopping by \u003ca href=\"https://www.instagram.com/elismilehighclub/\">Eli’s Mile High Club\u003c/a> — where the pop-up ran throughout April — to experience Mishmish, I asked Nazzal about her connection to Palestine, Northern California and her grandmother’s recipes.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Let’s start with “Mishmish.” What does that concept mean for you, and how did it turn into a food pop-up?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Michelle Nazzal: \u003c/b>It’s something that’s very personal to me. It means “apricot” in Arabic. [But it’s also] a nickname my grandpa gave me as a kid. People in my family call me that.\u003c/p>\n\u003cp>When I was putting together Mishmish, it started out in a different format. I was a graphic designer [at the time] and I was thinking of ways to document food. I spent time with my grandma and wanted to catalog it. It started out as a [PDF] cookbook project, a personal thing with family photos and things like that. It sort of became a thing where I made food for friends, and they asked if I had a pop-up. My parents had a grocery and deli around San Francisco but I hadn’t thought about getting into making food. It’s different [from the family’s market]. It’s Palestinian and vegan. A lot of Palestinian food is innately vegan, but I took time to change recipes that are usually meat-centric. It started out in 2021.\u003c/p>\n\u003cfigure id=\"attachment_13928353\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928353\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/uag2vFZW.jpg-large.jpeg\" alt=\"a tray of Palestinian food is served at an outdoor patio in Oakland\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Foul medammes and fattoush served with a sweet pastry and pita bread. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In thinking about how I want Mishmish to feel, it’s welcoming and community-based. Providing things that are authentic and mostly traditional and hard to find, things I grew up with that are weird and niche, like jameed, a dried yogurt ball. It’s a really big process, but there’s no vegan version of that. I want to figure that out and offer it. Having my own twist on things that I’ve discovered and played around with as a vegan [that incorporate] other Arabic flavors as well.\u003c/p>\n\u003cp>\u003cb>Are apricots common in Palestinian food?\u003c/b>\u003c/p>\n\u003cp>Apricots are used frequently in desserts. You can get it in Turkish delight, puddings are made from or topped with it, compotes, jams. [It’s used] as a sweet component. There’s also a saying in Arabic, “Bukra fil mish-mish.” The season for apricots is so quick. They ripen and go bad really quickly. It’s a saying everyone always says. It’s like saying “when pigs fly.”\u003c/p>\n\u003cp>\u003cb>When did your family migrate from Palestine to the Bay Area, and in what ways has food been passed on throughout that transition?\u003c/b>\u003c/p>\n\u003cp>I grew up with this food because of my grandma. My grandparents immigrated here in the ‘60s with a rich culture and background and all their recipes. When \u003ca href=\"https://www.history.com/this-day-in-history/u-n-votes-for-partition-of-palestine\">the partition happened in the ‘40s\u003c/a>, my grandma was expelled from the land, which is now Tel Aviv. They decided they wanted to give the family a bit of a better life. A lot of [Palestinians] moved in the ‘60s. My family moved directly to San Francisco, around Cole Valley. They lived in one building, one family per floor, but all our family was together. My dad got to grow up with his first cousins in the same building.\u003c/p>\n\u003cfigure id=\"attachment_13928382\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Tete_RichmondMarket-1.jpg\" alt='Old black-and-white photo of a woman standing inside a deli/market; a neon sign in back reads, \"Burgie!\"' width=\"1920\" height=\"1321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-1536x1057.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nazzal’s grandmother, Laurain Nazzal, inside the market her family used to run at 41st and Balboa in San Francisco. \u003ccite>(Courtesy of Michelle Nazzal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My grandma grew up on a farm in Jericho, raising her food and livestock. The perspective she brings to [foodmaking] is from her region. My grandma taught me how to break down a vegetable or animal [because] it all has a purpose. We honor it. There’s something special about that. She showed me how to make a lot of things fully from scratch. There’s a tenderness and slowness to that. It can take multiple days; it’s involved and hands-on to prepare a big dish. It’s so community-based and community-oriented. Palestinians have a connection to the soil and agriculture which has been passed down through generations.\u003c/p>\n\u003cp>Growing up in the diaspora and having never gone to Palestine has been challenging, so my direct connection is through food and recipes. That’s how I connect to ancestral things I’ve inherited from my family.\u003c/p>\n\u003cp>\u003cb>Why is it important for you to serve Palestinian food in today’s Bay Area?\u003c/b>\u003c/p>\n\u003cp>There’s so much erasure happening with Palestine — the people, culture, land. Being in diaspora, you’re one step removed from everything, and the further you get and water it down, the more it gets diluted and starts disappearing. In the diaspora, it’s a good idea for us to represent those roots.\u003c/p>\n\u003cfigure id=\"attachment_13928383\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/mishmish_nazzal.jpg\" alt=\"Tattooed woman wearing black plastic gloves prepares a plate of rice inside a restaurant kitchen.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nazzal says she wants to introduce diners to Palestinian dishes that go beyond the usual hummus and shawarma. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My family comes from a Christian background, and there are a lot of Christian Palestinians in the Bay — especially in San Francisco, San Jose. If we went to a market, we knew people were Palestinian but it was never broadly announced. It’s challenging to honor your background as a small business owner, making sure it doesn’t affect your business. It was more challenging perhaps to do that back then, but it’s important to me to make that an essential part of what I’m doing. I don’t shy away from it. I have a punk and anarchist background so it’s important to honor that. Sharing my food, that’s important. Removing Palestine from it isn’t doing justice to the sacrifices my family has made.\u003c/p>\n\u003cp>\u003cb>What challenges have you faced as a Palestinian American food maker?\u003c/b>\u003c/p>\n\u003cp>When people think of places like the Arab region there tends to be a stereotype about the people or how the food will taste. With Arab food people default to shawarma, falafel, hummus. But there’s so much nuance to our food. It’s challenging when you have a pop-up because there are certain expectations to [serve] things like hummus. But I don’t always want to give that to people. I want to share dishes I grew up with that are special to me.\u003c/p>\n\u003cp>\u003cb>What’s the most popular item you serve at Mishmish? And what’s an example of a traditional Palestinian dish that represents comfort for you?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13928355\" class=\"wp-caption alignright\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg\" alt=\"\" width=\"1366\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1025x1536.jpeg 1025w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Bazella, a carrot and green pea stew, served at Mishmish. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My cashew labneh is a big hit. People who are lactose intolerant or maybe have never had labneh before love it. I’ve been a vegetarian for a long time and went vegan five or six years ago. I had to figure out how to replace knafeh, which is a cheese-based dessert, and labneh [with vegan substitutes]. That’s really special for me to share with people who have a similar background to experience and invoke those memories, but also for those who haven’t had it before to introduce those flavors.\u003c/p>\n\u003cp>Depending upon where you’re from in Palestinian, there are very regional dishes. Labneh is, traditionally, yogurt that has been salted over time and fermented for over a week or so. Knafeh is very Palestinian, from Nablus. My family uses sweet and salty cheese and dough, like shredded filo, with orange powder and butter for a crunchy effect. It gets baked and dusted in sugar — it’s syrupy, very sweet, salty, crunchy. Depending on which region you’re from, they will make it differently. In Gaza they don’t use cheese; they make more of a baklava filling with spiced walnuts and pistachios. But it’s specifically Palestinian.\u003c/p>\n\u003cp>There are variations [of similar dishes in other regions]. Labneh, hummus, falafel — a lot of people in Lebanon, Syria, Iraq and Yemen, they all make similar food. But it’s important to highlight things that are specific to your culture, to make those differentiations. That’s important to me with Mishmish — to make dishes that have inspirations, maybe from Persian food or other Arab countries that are adjacent to Palestine, but I want to make sure to make that differentiation.\u003c/p>\n\u003cfigure id=\"attachment_13928354\" class=\"wp-caption alignleft\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/KU86MpD2.jpg-medium.jpeg\" alt=\"a menu for Mishmish, a Palestinian pop-up, offers a variety of family-style plates\" width=\"750\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/KU86MpD2.jpg-medium.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/KU86MpD2.jpg-medium-160x236.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Mishmish offers a rotating array of Palestinian and SSWANA-inspired vegan foods. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has growing up in San Francisco and Petaluma influenced your approach to food?\u003c/b>\u003c/p>\n\u003cp>I sometimes take special trips around the Bay to get something I’m specifically looking for. I remember being a kid and taking Muni with my grandma and going to different Filipino vendors to find things that are similar in our cultures. My grandma would find the closest possible thing to use in her cooking. That’s really special — being able to adapt and support other people and cultures. It’s a cool cross-cultural way of honoring food. It gives you a wider appreciation.\u003c/p>\n\u003cp>A few businesses here are an inspiration for me. \u003ca href=\"https://www.instagram.com/queens_sf/?hl=en\">Queens\u003c/a> in San Francisco, a Korean market. They make and vend Korean foods and ingredients you can’t really find anywhere else. \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a>, of course, is an amazing Arab street food place and bakery. I love their idea of creating equitable workplaces for people. That’s important to how I structure my business and how I want to hire and provide a safe work environment for people who are paid well. I also like \u003ca href=\"https://www.instagram.com/liondancecafe/\">Lion Dance\u003c/a> — they’re a vegan Singaporean restaurant here in Oakland. I appreciate their approach. One of the owners is Singaporean and the other is Italian, so they’ve created a beautiful menu that honors the authenticity of their foods and cultures. I celebrate that and want to see that more for SSWANA people.\u003c/p>\n\u003cp>\u003cb>What’s SSWANA?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13918017/jeweled-rice-art-persian-food-sswana-middle-eastern-pop-up\">SSWANA\u003c/a> means South Asian, Southwest Asian and North African. When you think of Middle Eastern versus SSWANA, SSWANA is actually more accurate. Middle Eastern is a colonized word and term that was created by people who aren’t Arab. I’m trying to help change that narrative by changing my vocabulary. I’ve had a wild experience filling out my ethnicity on census forms.\u003c/p>\n\u003cp>\u003cb>That’s dope, I didn’t know that. I think specificity is important for the liberation of all groups. What’s next on your food journey?\u003c/b>\u003c/p>\n\u003cp>It feels good to see where I’ve gone without any [formal] cooking background. I’ve cooked with my family throughout my life, but by figuring out how to make food to order and things like that, I’ve made progress. I’m always wondering: What feels good? How do I want to move forward? What that means for me right now is I’ll probably move away from the pop-up format and go into farmers markets and package my food and eventually keep building toward my brick-and-mortar grocery and deli. When I first started out I didn’t have the intention of it being a full-blown food project, but it went on that trajectory.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mishmishsouq.com/\">\u003ci>Mishmish\u003c/i>\u003c/a>\u003ci> operates as a roaming pop-up around the Bay Area. \u003c/i>\u003ca href=\"https://www.instagram.com/mishmishsouq/?hl=en\">\u003ci>Check online\u003c/i>\u003c/a>\u003ci> for updates on locations and menus. They appear every second Sunday of the month at Birba Wine Bar (458 Grove St., San Francisco) from 1–8 p.m. They will also pop up at\u003c/i> \u003ci>Millennium Restaurant (5912 College Ave., Oakland) on Sun., May 21 from 11 a.m. to 2 p.m., and Abacus Row (1256 Mason St., San Francisco) on Sat., June 24, time TBD.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sean Hayes' New Album 'Be Like Water' Offers Pathway from Worry",
"headTitle": "Sean Hayes’ New Album ‘Be Like Water’ Offers Pathway from Worry | KQED",
"content": "\u003cfigure id=\"attachment_13906356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg\" alt=\"A man with short grey hair and beard plays a vintage acoustic guitar in a wood-paneled room as sun shines in from the left.\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1536x1161.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN.jpg 1908w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area singer-songwriter Sean Hayes has released a new album, \u003cem>Be Like Water\u003c/em>, his first in five years. And while it comes at a time when people are feeling their way out of the isolation of the pandemic, our psyches battered and bruised by so much loss and grief, Hayes says, “This was not a pandemic record.”\u003c/p>\n\u003cp>And it’s not, by virtue of the fact that the songs on \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Be Like Water\u003c/em>\u003c/a> were all written years before the coronavirus hit. When life and live music shut down in March 2020, Hayes tucked all those songs away in a drawer.\u003c/p>\n\u003cp>“But also during the pandemic, I did feel an incredible urge to clean out all the leftover things,” he says. “Before we got out of it, I wanted to have a really clean slate.”\u003c/p>\n\u003cp>So, last November, he got a band together in a professional studio and re-recorded all the songs.\u003c/p>\n\u003cp>Released now, \u003cem>Be Like Water\u003c/em> is inevitably a pandemic record. It carries so many messages that many of us need in this moment: in almost every song, the lyrics journey from suffering to acceptance, from letting pain fester to letting it go, from worrying over the past or future to finding solace in the present. Musically, some songs allow for contemplating sadness—pandemic-inspired or otherwise—while others compel movement and release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hayes spoke to KQED about his sources of inspiration and healing.\u003c/p>\n\u003cp>\u003cem>The following interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6kdWQRORlQk\u003c/p>\n\u003cp>\u003cstrong>You were working on the songs on this record over the course of a few years. What was going on in your life at the time?\u003c/strong>\u003c/p>\n\u003cp>There’s a song in there called “Tomorrow Tonight”: “I have to beg, steal and borrow.” And that song is all about the anxiety of Bay Area real estate. So we were renting, we have two kids and then we had to move when we first got to Petaluma. And it starts to get really stressful. So, what’s the hook: “Let’s forget about tomorrow, tonight.”\u003c/p>\n\u003cp>I have a propensity to get ahead of myself, and catastrophize, is the word I learned recently — think about all the worst possible outcomes. So a lot of it’s about getting myself back to the moment and not getting really far out.\u003c/p>\n\u003cp>The record’s called \u003cem>Be Like Water\u003c/em>, and there’s a song called “Water.” I did the I Ching way back in the day with some friends — it’s an old Chinese book of divination, and my role was to be like water, to follow the path of least resistance. And that stuck around for years and it would try to come out in a song.\u003c/p>\n\u003cp>[aside postID='arts_29105']“Oh, the book said, it said, ‘Be like water, be like water,’” and that’s as far as it would ever go. Then I started playing that James Brown tune, “Sex Machine” — “Get up! Get on up!” So finally, I got “You got to get up, get up to get down,” which is water as well, because water is constantly recycling. It’s pulled up and then it comes down, pulls up and comes down. It’s just reminding yourself not to hold on too tightly — to let people help you, to let the world help you. So I write songs to kind of remember little spiritual, philosophical ideas. I like these little mantra trances.\u003c/p>\n\u003cp>\u003cstrong>What about the song “Invisible Weight”?\u003c/strong>\u003c/p>\n\u003cp>The best way to describe that one is: something’s bothering you, like an episode from 15 years ago. “Did that go down that way? Do I need to feel bad about that?” And then eventually, “Do I need to call that person?”\u003c/p>\n\u003cp>That song’s just about making that phone call and dealing with that invisible weight that you might be carrying around. You’ve got to deal with those moments because they keep coming back. That’s part of creation for me, carving out the stuff that’s festering and needs to move out. That’s a great thing about songwriting is it enables you to do some of that work.\u003c/p>\n\u003cfigure id=\"attachment_13906355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg\" alt=\"A man with a vintage acoustic guitar gestures on the sofa as other vintage guitars hang in the background.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So with the songs on this record getting released, has that cleared out your drawer? Given you a clean slate?\u003c/strong>\u003c/p>\n\u003cp>I’m almost there. The other thing I’m doing right now is some covers. I’m hoping to put out a bibliography of the record that I just made, which is all the songs I’ve been playing for the last five or six years that have influenced these songs. It’s really cool to see the influences and to pay more attention to that as I’ve gotten older, to see where these things are actually stemming from.\u003c/p>\n\u003cp>There are songs from Hank Williams, from different blues artists where I can point exactly to how it influenced the songs on \u003cem>Be Like Water\u003c/em>. Artists like Little Walter, the blues harmonica player from the ’50s, and Junior Kimbrough, he’s a blues artist from Mississippi. I really love raw recordings, and there’s one of him playing “Meet Me in the City,” it sounds like it’s on a little cassette tape. I played that song so many times that it influenced the guitar playing on “Faded.” That’s a fun song for me. I enjoy that one.\u003c/p>\n\u003cp>\u003cstrong>That one is the hardest one for me.\u003c/strong>\u003c/p>\n\u003cp>Yeah. There’s a lot of me being unsatisfied with where I’m at in that song, and reflecting on yourself in negative ways and struggling. I just like where it lands at the end: “Something about you, and me,” the way it ends in this little love song, even though the whole thing is not.\u003c/p>\n\u003cp>\u003cstrong>Do you identify more with being a musician or a poet?\u003c/strong>\u003c/p>\n\u003cp>It’s interesting, I don’t allow myself to be thought of as a poet, but I would probably identify with it much more in a lot of ways, because the words mean a lot to me. My music is very simple and very folky, and usually the lyric is the thing I’m struggling with. I don’t necessarily think of myself as a poet, but I probably think of myself as words first, music second.\u003c/p>\n\u003cfigure id=\"attachment_13906358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg\" alt=\"A copy of the I Ching sits on a sofa next to an acoustic guitar.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The title track of Sean Hayes’ new album, ‘Be Like Water,’ was inspired by the I Ching, the Chinese book of divination, and the James Brown song “Sex Machine.” \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why are you not more famous?\u003c/strong>\u003c/p>\n\u003cp>There’s a million answers to that question.\u003c/p>\n\u003cp>From an industry standpoint, it’s just me putting out the music. It’s very hand-to-mouth, so if you find out about this record, it’s because you know somebody who liked it and passed it on to you. I’ve had moments where the stars popped out a little bit, but there’s never been a machine behind it in any way, shape or form. I just get up and work on the music.\u003c/p>\n\u003cp>I think it’s harder to get known than people realize. We kind of have this romantic thing of, if you like the music, then everybody must know about it, right? No, not at all. There’s so many people in the Bay Area who have no idea I exist at all. I meet them every day.\u003c/p>\n\u003cp>\u003cstrong>Is there part of you that hasn’t quite wanted it?\u003c/strong>\u003c/p>\n\u003cp>There may be some psychological stuff going on there. I do have a weird tendency, if I meet somebody who can give me something, I’ll run the opposite direction. I was really bad at that in my twenties and thirties. If you were a fancy booking agent or a cool manager, I would just think ‘I don’t want to talk to that person,’ because I don’t want to want or need anything. So that’s my problem. I’ve just never been a part of that big industry, my brain just doesn’t work that way. I’m a folk musician, really grassrootsy. I believe I am right where I should be, and people find the music when they are supposed to find it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Be Like Water’ is \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">out now\u003c/a>. Sean Hayes performs \u003ca href=\"https://fb.me/e/1H1BYJvWR\" target=\"_blank\" rel=\"noopener noreferrer\">a free virtual release concert\u003c/a> on Friday, Nov. 19, at 6pm; he also performs Friday, Dec. 3, \u003ca href=\"https://www.eventbrite.com/e/sean-hayes-w-special-guest-jaleh-tickets-195560656187\" target=\"_blank\" rel=\"noopener noreferrer\">at The Chapel in San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13906356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg\" alt=\"A man with short grey hair and beard plays a vintage acoustic guitar in a wood-paneled room as sun shines in from the left.\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1536x1161.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN.jpg 1908w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area singer-songwriter Sean Hayes has released a new album, \u003cem>Be Like Water\u003c/em>, his first in five years. And while it comes at a time when people are feeling their way out of the isolation of the pandemic, our psyches battered and bruised by so much loss and grief, Hayes says, “This was not a pandemic record.”\u003c/p>\n\u003cp>And it’s not, by virtue of the fact that the songs on \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Be Like Water\u003c/em>\u003c/a> were all written years before the coronavirus hit. When life and live music shut down in March 2020, Hayes tucked all those songs away in a drawer.\u003c/p>\n\u003cp>“But also during the pandemic, I did feel an incredible urge to clean out all the leftover things,” he says. “Before we got out of it, I wanted to have a really clean slate.”\u003c/p>\n\u003cp>So, last November, he got a band together in a professional studio and re-recorded all the songs.\u003c/p>\n\u003cp>Released now, \u003cem>Be Like Water\u003c/em> is inevitably a pandemic record. It carries so many messages that many of us need in this moment: in almost every song, the lyrics journey from suffering to acceptance, from letting pain fester to letting it go, from worrying over the past or future to finding solace in the present. Musically, some songs allow for contemplating sadness—pandemic-inspired or otherwise—while others compel movement and release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hayes spoke to KQED about his sources of inspiration and healing.\u003c/p>\n\u003cp>\u003cem>The following interview has been edited for length and clarity.\u003c/em>\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/6kdWQRORlQk'\n title='//www.youtube.com/embed/6kdWQRORlQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You were working on the songs on this record over the course of a few years. What was going on in your life at the time?\u003c/strong>\u003c/p>\n\u003cp>There’s a song in there called “Tomorrow Tonight”: “I have to beg, steal and borrow.” And that song is all about the anxiety of Bay Area real estate. So we were renting, we have two kids and then we had to move when we first got to Petaluma. And it starts to get really stressful. So, what’s the hook: “Let’s forget about tomorrow, tonight.”\u003c/p>\n\u003cp>I have a propensity to get ahead of myself, and catastrophize, is the word I learned recently — think about all the worst possible outcomes. So a lot of it’s about getting myself back to the moment and not getting really far out.\u003c/p>\n\u003cp>The record’s called \u003cem>Be Like Water\u003c/em>, and there’s a song called “Water.” I did the I Ching way back in the day with some friends — it’s an old Chinese book of divination, and my role was to be like water, to follow the path of least resistance. And that stuck around for years and it would try to come out in a song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Oh, the book said, it said, ‘Be like water, be like water,’” and that’s as far as it would ever go. Then I started playing that James Brown tune, “Sex Machine” — “Get up! Get on up!” So finally, I got “You got to get up, get up to get down,” which is water as well, because water is constantly recycling. It’s pulled up and then it comes down, pulls up and comes down. It’s just reminding yourself not to hold on too tightly — to let people help you, to let the world help you. So I write songs to kind of remember little spiritual, philosophical ideas. I like these little mantra trances.\u003c/p>\n\u003cp>\u003cstrong>What about the song “Invisible Weight”?\u003c/strong>\u003c/p>\n\u003cp>The best way to describe that one is: something’s bothering you, like an episode from 15 years ago. “Did that go down that way? Do I need to feel bad about that?” And then eventually, “Do I need to call that person?”\u003c/p>\n\u003cp>That song’s just about making that phone call and dealing with that invisible weight that you might be carrying around. You’ve got to deal with those moments because they keep coming back. That’s part of creation for me, carving out the stuff that’s festering and needs to move out. That’s a great thing about songwriting is it enables you to do some of that work.\u003c/p>\n\u003cfigure id=\"attachment_13906355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg\" alt=\"A man with a vintage acoustic guitar gestures on the sofa as other vintage guitars hang in the background.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So with the songs on this record getting released, has that cleared out your drawer? Given you a clean slate?\u003c/strong>\u003c/p>\n\u003cp>I’m almost there. The other thing I’m doing right now is some covers. I’m hoping to put out a bibliography of the record that I just made, which is all the songs I’ve been playing for the last five or six years that have influenced these songs. It’s really cool to see the influences and to pay more attention to that as I’ve gotten older, to see where these things are actually stemming from.\u003c/p>\n\u003cp>There are songs from Hank Williams, from different blues artists where I can point exactly to how it influenced the songs on \u003cem>Be Like Water\u003c/em>. Artists like Little Walter, the blues harmonica player from the ’50s, and Junior Kimbrough, he’s a blues artist from Mississippi. I really love raw recordings, and there’s one of him playing “Meet Me in the City,” it sounds like it’s on a little cassette tape. I played that song so many times that it influenced the guitar playing on “Faded.” That’s a fun song for me. I enjoy that one.\u003c/p>\n\u003cp>\u003cstrong>That one is the hardest one for me.\u003c/strong>\u003c/p>\n\u003cp>Yeah. There’s a lot of me being unsatisfied with where I’m at in that song, and reflecting on yourself in negative ways and struggling. I just like where it lands at the end: “Something about you, and me,” the way it ends in this little love song, even though the whole thing is not.\u003c/p>\n\u003cp>\u003cstrong>Do you identify more with being a musician or a poet?\u003c/strong>\u003c/p>\n\u003cp>It’s interesting, I don’t allow myself to be thought of as a poet, but I would probably identify with it much more in a lot of ways, because the words mean a lot to me. My music is very simple and very folky, and usually the lyric is the thing I’m struggling with. I don’t necessarily think of myself as a poet, but I probably think of myself as words first, music second.\u003c/p>\n\u003cfigure id=\"attachment_13906358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg\" alt=\"A copy of the I Ching sits on a sofa next to an acoustic guitar.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The title track of Sean Hayes’ new album, ‘Be Like Water,’ was inspired by the I Ching, the Chinese book of divination, and the James Brown song “Sex Machine.” \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why are you not more famous?\u003c/strong>\u003c/p>\n\u003cp>There’s a million answers to that question.\u003c/p>\n\u003cp>From an industry standpoint, it’s just me putting out the music. It’s very hand-to-mouth, so if you find out about this record, it’s because you know somebody who liked it and passed it on to you. I’ve had moments where the stars popped out a little bit, but there’s never been a machine behind it in any way, shape or form. I just get up and work on the music.\u003c/p>\n\u003cp>I think it’s harder to get known than people realize. We kind of have this romantic thing of, if you like the music, then everybody must know about it, right? No, not at all. There’s so many people in the Bay Area who have no idea I exist at all. I meet them every day.\u003c/p>\n\u003cp>\u003cstrong>Is there part of you that hasn’t quite wanted it?\u003c/strong>\u003c/p>\n\u003cp>There may be some psychological stuff going on there. I do have a weird tendency, if I meet somebody who can give me something, I’ll run the opposite direction. I was really bad at that in my twenties and thirties. If you were a fancy booking agent or a cool manager, I would just think ‘I don’t want to talk to that person,’ because I don’t want to want or need anything. So that’s my problem. I’ve just never been a part of that big industry, my brain just doesn’t work that way. I’m a folk musician, really grassrootsy. I believe I am right where I should be, and people find the music when they are supposed to find it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Be Like Water’ is \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">out now\u003c/a>. Sean Hayes performs \u003ca href=\"https://fb.me/e/1H1BYJvWR\" target=\"_blank\" rel=\"noopener noreferrer\">a free virtual release concert\u003c/a> on Friday, Nov. 19, at 6pm; he also performs Friday, Dec. 3, \u003ca href=\"https://www.eventbrite.com/e/sean-hayes-w-special-guest-jaleh-tickets-195560656187\" target=\"_blank\" rel=\"noopener noreferrer\">at The Chapel in San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Exploring the Many Mysteries of Petaluma's Lan Mart Building",
"headTitle": "Exploring the Many Mysteries of Petaluma’s Lan Mart Building | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen you’re stuck in the tiny, old-fashioned elevator of the Lan Mart building, no one can hear you scream.\u003c/p>\n\u003cfigure id=\"attachment_13895978\" class=\"wp-caption alignright\" style=\"max-width: 328px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895978\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-19-at-10.59.39-AM.png\" alt=\"Upstairs at the Lan Mart: A long, narrow corridor of closed doors, beyond the elevator.\" width=\"328\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-19-at-10.59.39-AM.png 328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-19-at-10.59.39-AM-160x175.png 160w\" sizes=\"(max-width: 328px) 100vw, 328px\">\u003cfigcaption class=\"wp-caption-text\">Upstairs at the Lan Mart. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anne Bishop—the owner of \u003ca href=\"https://downtownpetalumapilates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pilates With Anne\u003c/a> on the second floor—discovered this a few years ago, on her way to teach a class. Because her pilates studio wraps around the elevator shaft, and she knew she had a room full of students waiting for her, Bishop, on realizing the elevator was jammed, called out for assistance. Despite being separated by only a single door, not one person on the other side heard her. “I couldn’t believe they couldn’t hear me yelling!” she recalls now.\u003c/p>\n\u003cp>If you’re wondering why a pilates studio would have an elevator shaft running through the middle of it, then you’ve probably never been to the Lan Mart. The historic building harbors an endless number of discombobulating quirks: miniature doors built into random corners, odd crawl spaces, a row of locked doors where there should probably be businesses, and at least one—the staff informs me—secret corridor.\u003c/p>\n\u003cp>The Lan Mart also contains a confusing number of staircases; a fact highlighted in December 2010, after the dead body of a \u003ca href=\"https://www.petaluma360.com/article/news/sister-of-charles-pollock-who-was-found-dead-dec-23-says-he-wasnt-homel/\" target=\"_blank\" rel=\"noopener noreferrer\">52-year-old local man was discovered\u003c/a> beneath one by a PG&E employee. Not all of the stairs, however, are accessible to the public. One of the most obvious examples of this are the basement stairs barricaded behind a locked gate, in the middle of a major walkway.\u003c/p>\n\u003cfigure id=\"attachment_13895957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Image-from-iOS-16-800x600.jpg\" alt=\"Stairs to the basement from the Lan Mart's ground floor.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stairs to the basement from the Lan Mart’s ground floor. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhat predictably, rumors of the Lan Mart being haunted are rife in Petaluma. During my first visit there, two employees from two separate businesses casually mentioned ghostly activity, entirely unprompted, within the first 15 minutes. One, who asked not to be named for fear that it might impact business, told me they often open up and find objects in their shop have moved during the night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was rumors like these that prompted \u003ca href=\"https://www.yogarenewteachertraining.com/courses/200-hour/?gclid=Cj0KCQjwgtWDBhDZARIsADEKwgNiZW0VHgDDUlW_YWCXDq0RcTaJtjEARr0Xps38JxygOUVnw62MbxcaAurjEALw_wcB\" target=\"_blank\" rel=\"noopener noreferrer\">Renew Yoga\u003c/a> owner, Pamela Maldonado, to take action before she opened her business upstairs. “We were told that the Lan Mart was probably haunted,” Maldonado explains, “so I asked four of my reiki friends to help me smudge the studio. Smudging is a clearing ritual that removes negative energy. I am very sensitive to energy and in all the years I have worked here I’ve felt no negative energy.”\u003c/p>\n\u003cp>Despite being directly next door to Maldonado’s yoga studio, Anne Bishop is convinced that strange things \u003cem>are\u003c/em> afoot in the Lan Mart. She says the most common indication is her ceiling fans turning on and off of their own afford. “I’m always like, ‘Well, that’s the ghost!'” Bishop laughs. “I do feel a presence sometimes. A couple of times, I’ve hung something up in my studio and just immediately received this mass of energy of ‘No, don’t put that there.’ And then it ends up falling out of the wall.”\u003c/p>\n\u003cp>Joanne Hansen, co-owner of the Lan Mart’s popular Old Chicago Pizza, believes that one strong presence upstairs may be her husband, who died in 2016 after running the restaurant for 38 years. “Michael was a man with a big personality and his presence is still to be felt, especially after closing,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13895962\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895962\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Image-from-iOS-9-800x600.jpg\" alt=\"Michael Hansen's picture still adorns the wall of Old Chicago.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Hansen’s picture still adorns the wall of Old Chicago. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The strangest encounter I heard from Lan Mart employees happened to Drew Washer, who owns and runs the ground floor variety store Heebe Jeebe. At the time, she was running a seasonal Halloween store upstairs. “I was always kind of creeped out up there,” she says. “The light switch was on the far door from where I had to walk out. So at night, I would turn it off and just run really fast.\u003c/p>\n\u003cp>“One morning before opening,” Washer continues, “I saw this very classic looking apparition. It passed by my door, moved down the hallway and turned right towards the stairs. It was a really strange image.”\u003c/p>\n\u003cfigure id=\"attachment_13895953\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Image-from-iOS-24-800x600.jpg\" alt=\"Plants on the ground floor, put in place by Anne Bishop, after a Feng Shui expert advised her that something bad had happened in the area. Drew Washer saw an apparition heading to the area early one morning as she set up her shop.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plants on the ground floor, put in place by Anne Bishop, after a Feng Shui expert advised her that something bad had happened in the area. Drew Washer saw an apparition heading there early one morning as she set up her shop. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bishop tells me that a visiting Feng Shui practitioner was also drawn to those stairs, advising her to put plants around them in an effort to clear “challenging energy.” Bishop has been doing so ever since, though the Feng Shui expert didn’t offer any clues as to what might have happened there.\u003c/p>\n\u003cp>With a history as long as the Lan Mart’s, it could be just about anything.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Lan Mart dates back to 1876, when a man named George Pury built a three-story hotel on a block that had, for years, been part of Petaluma’s burgeoning Chinatown. Its construction began in the middle of a concerted effort to push Chinese workers out of Petaluma, and indeed, \u003ca href=\"https://www.pressdemocrat.com/article/news/lebaron-citys-rich-painful-chinese-legacy-gets-its-due/\" target=\"_blank\" rel=\"noopener noreferrer\">all of Sonoma County\u003c/a>. Mass immigration—prompted by both the gold rush and the construction work offered on Charles Crocker’s railroad—was openly talked about at the time as “\u003ca href=\"https://www.petaluma360.com/article/news/petalumas-past-remembering-the-chinese-exclusion-act-of-1882/\" target=\"_blank\" rel=\"noopener noreferrer\">the Chinese problem\u003c/a>.” At one point, the \u003cem>Petaluma Argus\u003c/em> newspaper proposed a boycott on any business hiring Chinese workers, and town leaders threatened to cut off the water supply to the “Chinese District.”\u003c/p>\n\u003cp>[aside postid='arts_13883118,arts_13892672']As Chinese workers got pushed out, the Cosmopolitan Hotel went up on what is now Petaluma Boulevard, close to the corner of Western Avenue. The hotel had 46 bedrooms along with a barber, cobbler, parlor and dining room, as well as a saloon. There was also a social hall that served as a meeting place for local fraternal club the \u003ca href=\"https://start.cortera.com/company/research/l7s7lzm2k/loyal-order-of-moose-lodges/\" target=\"_blank\" rel=\"noopener noreferrer\">Loyal Order of Moose\u003c/a>. (The club, an international organization, still exists in Petaluma today. A 2006 \u003ca href=\"https://www.pressdemocrat.com/article/news/loyal-order-of-moose-rapidly-attracting-members-to-help-liven-things-up-en/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Press Democrat\u003c/em> article\u003c/a> reported that “prospective members must pledge that they believe in a supreme being, have not been a member of the Communist party, and have not been convicted of a felony.”)\u003c/p>\n\u003cp>After the Cosmopolitan opened for business, so did the Centennial Livery Stable next door. On its face, the stable provided convenient accommodations for travelers’ horses. But it also happened to house a brothel upstairs that remains infamous among Petaluma locals.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>fter the 1906 earthquake, the stables, brothel and hotel were all combined behind a single facade. Bishop believes that Maldonado’s yoga studio once housed the saloon, and that her pilates studio used to be connected brothel bedrooms. “It’s not a very big space but there are three doors in here,” she says. “There used to be four, but one is the elevator shaft now.”\u003c/p>\n\u003cp>More change came in 1930 when the Gross Building was constructed behind the Lan Mart, facing out onto what is now Kentucky Street. It served first as a miniature golf course and later as a grocery store. By 1969, after the Lan Mart and the Gross had slipped into disrepair, the buildings were saved from demolition by a couple named Victor and Marisa DeCarli. The DeCarlis restored and combined the two buildings into one big shopping mall—today’s Lan Mart. (The DeCarlis still run two stores there—\u003ca href=\"https://www.facebook.com/MarisasFantasiaPetaluma/\" target=\"_blank\" rel=\"noopener noreferrer\">Christmas Fantasia\u003c/a> and \u003ca href=\"https://www.facebook.com/MarisasFantasiaPetaluma/\" target=\"_blank\" rel=\"noopener noreferrer\">Marisa’s Fantasia\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13895955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Image-from-iOS-22-800x600.jpg\" alt=\"The Kentucky Street side of the Lan Mart, which used to be the Gross Building.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Kentucky Street side of the Lan Mart, which used to be the Gross Building. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In interviews, across the board, everyone working in the Lan Mart expresses great love for the building, despite the architectural quirks and ongoing rumors of a haunting. “One of the things we joke about in the building is that once you move in, you don’t leave,” Bishop says. “Everyone here is a longterm tenant.”\u003c/p>\n\u003cp>Bishop has given the matter a lot of thought, and believes she’s figured out why so many business owners feel such a deep attachment to the Lan Mart. “I think a lot about the women who worked in this space when it was a brothel,” she says. “It was probably a really hard life, doing that work back in the day. Being in here, you have a sense of them—I feel a kinship and I’ve always felt defensive of them. But most of the businesses here now are women-owned,” she continues. “And I feel there’s a significance in that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I want the spirits of those other women to feel like the tide has turned,” Bishop says. “Women succeeding here is a way to reclaim the space for them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen you’re stuck in the tiny, old-fashioned elevator of the Lan Mart building, no one can hear you scream.\u003c/p>\n\u003cfigure id=\"attachment_13895978\" class=\"wp-caption alignright\" style=\"max-width: 328px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895978\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-19-at-10.59.39-AM.png\" alt=\"Upstairs at the Lan Mart: A long, narrow corridor of closed doors, beyond the elevator.\" width=\"328\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-19-at-10.59.39-AM.png 328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-19-at-10.59.39-AM-160x175.png 160w\" sizes=\"(max-width: 328px) 100vw, 328px\">\u003cfigcaption class=\"wp-caption-text\">Upstairs at the Lan Mart. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anne Bishop—the owner of \u003ca href=\"https://downtownpetalumapilates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pilates With Anne\u003c/a> on the second floor—discovered this a few years ago, on her way to teach a class. Because her pilates studio wraps around the elevator shaft, and she knew she had a room full of students waiting for her, Bishop, on realizing the elevator was jammed, called out for assistance. Despite being separated by only a single door, not one person on the other side heard her. “I couldn’t believe they couldn’t hear me yelling!” she recalls now.\u003c/p>\n\u003cp>If you’re wondering why a pilates studio would have an elevator shaft running through the middle of it, then you’ve probably never been to the Lan Mart. The historic building harbors an endless number of discombobulating quirks: miniature doors built into random corners, odd crawl spaces, a row of locked doors where there should probably be businesses, and at least one—the staff informs me—secret corridor.\u003c/p>\n\u003cp>The Lan Mart also contains a confusing number of staircases; a fact highlighted in December 2010, after the dead body of a \u003ca href=\"https://www.petaluma360.com/article/news/sister-of-charles-pollock-who-was-found-dead-dec-23-says-he-wasnt-homel/\" target=\"_blank\" rel=\"noopener noreferrer\">52-year-old local man was discovered\u003c/a> beneath one by a PG&E employee. Not all of the stairs, however, are accessible to the public. One of the most obvious examples of this are the basement stairs barricaded behind a locked gate, in the middle of a major walkway.\u003c/p>\n\u003cfigure id=\"attachment_13895957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Image-from-iOS-16-800x600.jpg\" alt=\"Stairs to the basement from the Lan Mart's ground floor.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-16.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stairs to the basement from the Lan Mart’s ground floor. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhat predictably, rumors of the Lan Mart being haunted are rife in Petaluma. During my first visit there, two employees from two separate businesses casually mentioned ghostly activity, entirely unprompted, within the first 15 minutes. One, who asked not to be named for fear that it might impact business, told me they often open up and find objects in their shop have moved during the night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was rumors like these that prompted \u003ca href=\"https://www.yogarenewteachertraining.com/courses/200-hour/?gclid=Cj0KCQjwgtWDBhDZARIsADEKwgNiZW0VHgDDUlW_YWCXDq0RcTaJtjEARr0Xps38JxygOUVnw62MbxcaAurjEALw_wcB\" target=\"_blank\" rel=\"noopener noreferrer\">Renew Yoga\u003c/a> owner, Pamela Maldonado, to take action before she opened her business upstairs. “We were told that the Lan Mart was probably haunted,” Maldonado explains, “so I asked four of my reiki friends to help me smudge the studio. Smudging is a clearing ritual that removes negative energy. I am very sensitive to energy and in all the years I have worked here I’ve felt no negative energy.”\u003c/p>\n\u003cp>Despite being directly next door to Maldonado’s yoga studio, Anne Bishop is convinced that strange things \u003cem>are\u003c/em> afoot in the Lan Mart. She says the most common indication is her ceiling fans turning on and off of their own afford. “I’m always like, ‘Well, that’s the ghost!'” Bishop laughs. “I do feel a presence sometimes. A couple of times, I’ve hung something up in my studio and just immediately received this mass of energy of ‘No, don’t put that there.’ And then it ends up falling out of the wall.”\u003c/p>\n\u003cp>Joanne Hansen, co-owner of the Lan Mart’s popular Old Chicago Pizza, believes that one strong presence upstairs may be her husband, who died in 2016 after running the restaurant for 38 years. “Michael was a man with a big personality and his presence is still to be felt, especially after closing,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13895962\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895962\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Image-from-iOS-9-800x600.jpg\" alt=\"Michael Hansen's picture still adorns the wall of Old Chicago.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-9.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Hansen’s picture still adorns the wall of Old Chicago. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The strangest encounter I heard from Lan Mart employees happened to Drew Washer, who owns and runs the ground floor variety store Heebe Jeebe. At the time, she was running a seasonal Halloween store upstairs. “I was always kind of creeped out up there,” she says. “The light switch was on the far door from where I had to walk out. So at night, I would turn it off and just run really fast.\u003c/p>\n\u003cp>“One morning before opening,” Washer continues, “I saw this very classic looking apparition. It passed by my door, moved down the hallway and turned right towards the stairs. It was a really strange image.”\u003c/p>\n\u003cfigure id=\"attachment_13895953\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Image-from-iOS-24-800x600.jpg\" alt=\"Plants on the ground floor, put in place by Anne Bishop, after a Feng Shui expert advised her that something bad had happened in the area. Drew Washer saw an apparition heading to the area early one morning as she set up her shop.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plants on the ground floor, put in place by Anne Bishop, after a Feng Shui expert advised her that something bad had happened in the area. Drew Washer saw an apparition heading there early one morning as she set up her shop. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bishop tells me that a visiting Feng Shui practitioner was also drawn to those stairs, advising her to put plants around them in an effort to clear “challenging energy.” Bishop has been doing so ever since, though the Feng Shui expert didn’t offer any clues as to what might have happened there.\u003c/p>\n\u003cp>With a history as long as the Lan Mart’s, it could be just about anything.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Lan Mart dates back to 1876, when a man named George Pury built a three-story hotel on a block that had, for years, been part of Petaluma’s burgeoning Chinatown. Its construction began in the middle of a concerted effort to push Chinese workers out of Petaluma, and indeed, \u003ca href=\"https://www.pressdemocrat.com/article/news/lebaron-citys-rich-painful-chinese-legacy-gets-its-due/\" target=\"_blank\" rel=\"noopener noreferrer\">all of Sonoma County\u003c/a>. Mass immigration—prompted by both the gold rush and the construction work offered on Charles Crocker’s railroad—was openly talked about at the time as “\u003ca href=\"https://www.petaluma360.com/article/news/petalumas-past-remembering-the-chinese-exclusion-act-of-1882/\" target=\"_blank\" rel=\"noopener noreferrer\">the Chinese problem\u003c/a>.” At one point, the \u003cem>Petaluma Argus\u003c/em> newspaper proposed a boycott on any business hiring Chinese workers, and town leaders threatened to cut off the water supply to the “Chinese District.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As Chinese workers got pushed out, the Cosmopolitan Hotel went up on what is now Petaluma Boulevard, close to the corner of Western Avenue. The hotel had 46 bedrooms along with a barber, cobbler, parlor and dining room, as well as a saloon. There was also a social hall that served as a meeting place for local fraternal club the \u003ca href=\"https://start.cortera.com/company/research/l7s7lzm2k/loyal-order-of-moose-lodges/\" target=\"_blank\" rel=\"noopener noreferrer\">Loyal Order of Moose\u003c/a>. (The club, an international organization, still exists in Petaluma today. A 2006 \u003ca href=\"https://www.pressdemocrat.com/article/news/loyal-order-of-moose-rapidly-attracting-members-to-help-liven-things-up-en/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Press Democrat\u003c/em> article\u003c/a> reported that “prospective members must pledge that they believe in a supreme being, have not been a member of the Communist party, and have not been convicted of a felony.”)\u003c/p>\n\u003cp>After the Cosmopolitan opened for business, so did the Centennial Livery Stable next door. On its face, the stable provided convenient accommodations for travelers’ horses. But it also happened to house a brothel upstairs that remains infamous among Petaluma locals.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>fter the 1906 earthquake, the stables, brothel and hotel were all combined behind a single facade. Bishop believes that Maldonado’s yoga studio once housed the saloon, and that her pilates studio used to be connected brothel bedrooms. “It’s not a very big space but there are three doors in here,” she says. “There used to be four, but one is the elevator shaft now.”\u003c/p>\n\u003cp>More change came in 1930 when the Gross Building was constructed behind the Lan Mart, facing out onto what is now Kentucky Street. It served first as a miniature golf course and later as a grocery store. By 1969, after the Lan Mart and the Gross had slipped into disrepair, the buildings were saved from demolition by a couple named Victor and Marisa DeCarli. The DeCarlis restored and combined the two buildings into one big shopping mall—today’s Lan Mart. (The DeCarlis still run two stores there—\u003ca href=\"https://www.facebook.com/MarisasFantasiaPetaluma/\" target=\"_blank\" rel=\"noopener noreferrer\">Christmas Fantasia\u003c/a> and \u003ca href=\"https://www.facebook.com/MarisasFantasiaPetaluma/\" target=\"_blank\" rel=\"noopener noreferrer\">Marisa’s Fantasia\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13895955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Image-from-iOS-22-800x600.jpg\" alt=\"The Kentucky Street side of the Lan Mart, which used to be the Gross Building.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Image-from-iOS-22.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Kentucky Street side of the Lan Mart, which used to be the Gross Building. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In interviews, across the board, everyone working in the Lan Mart expresses great love for the building, despite the architectural quirks and ongoing rumors of a haunting. “One of the things we joke about in the building is that once you move in, you don’t leave,” Bishop says. “Everyone here is a longterm tenant.”\u003c/p>\n\u003cp>Bishop has given the matter a lot of thought, and believes she’s figured out why so many business owners feel such a deep attachment to the Lan Mart. “I think a lot about the women who worked in this space when it was a brothel,” she says. “It was probably a really hard life, doing that work back in the day. Being in here, you have a sense of them—I feel a kinship and I’ve always felt defensive of them. But most of the businesses here now are women-owned,” she continues. “And I feel there’s a significance in that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I want the spirits of those other women to feel like the tide has turned,” Bishop says. “Women succeeding here is a way to reclaim the space for them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13840187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-800x641.jpeg\" alt=\"An artist rendering of 'Fine Balance,' which involves bathtubs on stilts. \" width=\"800\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-240x192.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-375x300.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-520x417.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An artist rendering of ‘Fine Balance,’ which involves bathtubs on stilts. \u003ccite>(Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A 13-year effort to bring city-sponsored public art to Petaluma is encountering a small but vocal group of detractors in the North Bay, the \u003cem>Santa Rosa Press Democrat\u003c/em> first \u003ca href=\"https://www.pressdemocrat.com/news/8611300-181/petaluma-public-art-stirs-controversy\">reported\u003c/a>.\u003c/p>\n\u003cp>Petaluma’s Public Art Committee, created in 2005, commissioned \u003cem>Fine Balance\u003c/em> by San Francisco artist Brian Goggin using $150,000 in development fees earmarked for public art. The artist envisions five bathtubs on stilts near the Petaluma River on Water Street.\u003c/p>\n\u003cp>Goggin, a renowned sculptor \u003ca href=\"https://www.kqed.org/arts/12414388/meet-brian-goggin-gatekeeper-of-your-impossible-dreams\" rel=\"noopener\" target=\"_blank\">profiled by KQED Arts in 2016\u003c/a>, is known for San Francisco works including \u003cem>Defenestration\u003c/em>, which involved 45 pieces of furniture crawling along the exterior of a former tenement on Sixth Street; and \u003cem>Caruso’s Dream\u003c/em>, a sculptural canopy of pianos made from reclaimed factory windows and suspended above Ninth Street.\u003c/p>\n\u003cp>At approximately 20 feet tall, \u003cem>Fine Balance \u003c/em>is a similarly surreal, large-scale sculpture that the artist says references the adjacent river’s Gold Rush-era history of bathtub importing. Solar-powered LED lights will illuminate the waterfront sculptures at night.\u003c/p>\n\u003cp>“The image of a heavy object defying gravity relates to the uniqueness of Petaluma as both a counter-cultural beacon and a traditional base,” reads Goggin’s description of the work. “\u003cem>Fine Balance\u003c/em> refers to the agility required to navigate these times.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”Qj945eLSUttDFlXXwxWOje0wHbQHTEOv”]\u003c/p>\n\u003cp>To opposition leader Scott Andrews, however, Goggin’s proposal for Petaluma is a serious affront. Andrews, a local engineering consultant, has raised more than $3,000 on \u003ca href=\"https://www.gofundme.com/citicitizens-against-tubs-on-stilts\">GoFundMe\u003c/a> to oppose the artwork. The description calls \u003cem>Fine Balance\u003c/em> inappropriate for the location, unrelated to Petaluma, derivative of Salvador Dalí and the stilted Walkers from \u003cem>Star Wars\u003c/em>, a public health hazard, and an impediment to disabled citizens.\u003c/p>\n\u003cp>“The people raising a ruckus, it’s a small segment,” said Public Art Committee member and longtime North Bay arts figure Katherine Plank, adding that it’s unlikely to halt the project. “Those of us involved in the arts have been taken aback by the pushback,” she continued. “At first I thought, ‘Great, people care.’ Now I’m not sure.”\u003c/p>\n\u003cp>In November, a “spatial representation” of the sculptures will be installed as a preview of the piece, and Plank said \u003cem>Fine Balance\u003c/em> is tentatively expected to be completed by next August. “We’ve followed the letter of the law, and the majority of the city council said move ahead,” Plank said. “There is no other vote.”\u003c/p>\n\u003cp>Andrews, whose campaign seeks $5,000, said he’s considering using the money for an “ADA-style lawsuit,” and expressed his willingness to fight the art for the next 10 years.\u003c/p>\n\u003cp>Opponents of the artwork also include the Petaluma Valley Rotary club, which co-organizes the annual Petaluma River Craft Beer Festival on the Water Street site. Rotarians told the \u003cem>Press Democrat\u003c/em> the sculpture could displace 12 of 36 vendor booths, practically ending the festival.\u003c/p>\n\u003cp>But Plank called their concerns unfounded. “There’s no way they can know that,” she said. “Maybe they won’t put a booth where they did in the past, but those numbers are pulled out of thin air.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Petaluma Public Art Committee issued a request for qualifications in 2014 and, in light of uninspiring applicants, another one in 2016. Goggin was chosen from a pool of 65, beating out Petaluma resident and Burning Man-associated sculptor David Best.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13840187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-800x641.jpeg\" alt=\"An artist rendering of 'Fine Balance,' which involves bathtubs on stilts. \" width=\"800\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-240x192.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-375x300.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-520x417.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An artist rendering of ‘Fine Balance,’ which involves bathtubs on stilts. \u003ccite>(Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A 13-year effort to bring city-sponsored public art to Petaluma is encountering a small but vocal group of detractors in the North Bay, the \u003cem>Santa Rosa Press Democrat\u003c/em> first \u003ca href=\"https://www.pressdemocrat.com/news/8611300-181/petaluma-public-art-stirs-controversy\">reported\u003c/a>.\u003c/p>\n\u003cp>Petaluma’s Public Art Committee, created in 2005, commissioned \u003cem>Fine Balance\u003c/em> by San Francisco artist Brian Goggin using $150,000 in development fees earmarked for public art. The artist envisions five bathtubs on stilts near the Petaluma River on Water Street.\u003c/p>\n\u003cp>Goggin, a renowned sculptor \u003ca href=\"https://www.kqed.org/arts/12414388/meet-brian-goggin-gatekeeper-of-your-impossible-dreams\" rel=\"noopener\" target=\"_blank\">profiled by KQED Arts in 2016\u003c/a>, is known for San Francisco works including \u003cem>Defenestration\u003c/em>, which involved 45 pieces of furniture crawling along the exterior of a former tenement on Sixth Street; and \u003cem>Caruso’s Dream\u003c/em>, a sculptural canopy of pianos made from reclaimed factory windows and suspended above Ninth Street.\u003c/p>\n\u003cp>At approximately 20 feet tall, \u003cem>Fine Balance \u003c/em>is a similarly surreal, large-scale sculpture that the artist says references the adjacent river’s Gold Rush-era history of bathtub importing. Solar-powered LED lights will illuminate the waterfront sculptures at night.\u003c/p>\n\u003cp>“The image of a heavy object defying gravity relates to the uniqueness of Petaluma as both a counter-cultural beacon and a traditional base,” reads Goggin’s description of the work. “\u003cem>Fine Balance\u003c/em> refers to the agility required to navigate these times.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To opposition leader Scott Andrews, however, Goggin’s proposal for Petaluma is a serious affront. Andrews, a local engineering consultant, has raised more than $3,000 on \u003ca href=\"https://www.gofundme.com/citicitizens-against-tubs-on-stilts\">GoFundMe\u003c/a> to oppose the artwork. The description calls \u003cem>Fine Balance\u003c/em> inappropriate for the location, unrelated to Petaluma, derivative of Salvador Dalí and the stilted Walkers from \u003cem>Star Wars\u003c/em>, a public health hazard, and an impediment to disabled citizens.\u003c/p>\n\u003cp>“The people raising a ruckus, it’s a small segment,” said Public Art Committee member and longtime North Bay arts figure Katherine Plank, adding that it’s unlikely to halt the project. “Those of us involved in the arts have been taken aback by the pushback,” she continued. “At first I thought, ‘Great, people care.’ Now I’m not sure.”\u003c/p>\n\u003cp>In November, a “spatial representation” of the sculptures will be installed as a preview of the piece, and Plank said \u003cem>Fine Balance\u003c/em> is tentatively expected to be completed by next August. “We’ve followed the letter of the law, and the majority of the city council said move ahead,” Plank said. “There is no other vote.”\u003c/p>\n\u003cp>Andrews, whose campaign seeks $5,000, said he’s considering using the money for an “ADA-style lawsuit,” and expressed his willingness to fight the art for the next 10 years.\u003c/p>\n\u003cp>Opponents of the artwork also include the Petaluma Valley Rotary club, which co-organizes the annual Petaluma River Craft Beer Festival on the Water Street site. Rotarians told the \u003cem>Press Democrat\u003c/em> the sculpture could displace 12 of 36 vendor booths, practically ending the festival.\u003c/p>\n\u003cp>But Plank called their concerns unfounded. “There’s no way they can know that,” she said. “Maybe they won’t put a booth where they did in the past, but those numbers are pulled out of thin air.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Petaluma Public Art Committee issued a request for qualifications in 2014 and, in light of uninspiring applicants, another one in 2016. Goggin was chosen from a pool of 65, beating out Petaluma resident and Burning Man-associated sculptor David Best.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was 2am, the night before his wedding, when Elliott Whitehurst woke up his dad.\u003c/p>\n\u003cp>The ceremony was already set, friends and family in town. But suddenly, Whitehurst realized he was making a mistake. His dad heard him out, about how he’d wanted to make his fiancée happy but lost himself in the process. He knew it. His friends knew it. His bandmates definitely knew it.\u003c/p>\n\u003cp>Whitehurst’s dad said he understood. Hours before the ceremony, the wedding was called off.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3562985535/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>That night and the events surrounding it form the core of Trebuchet’s \u003cem>Volte-Face\u003c/em>, a gorgeous, indie-folk song cycle about growing older, trying manhood on for size, aiming to please, failing oneself, watching a love turn sour and corrosive, and ultimately choosing self-preservation. It’s not bitter, or angry, or pessimistic. It contains piano, ukeleles, shimmering guitars, and four-part harmonies galore. I surprised myself by listening to it more than any other album in 2017, each time finding new moments of beauty and calm during this year of constant terror.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hailing from Petaluma, Trebuchet put out two previous records that were pleasant enough, but felt too by-the-numbers. Whitehurst, generally a quiet person, comes from a family of bold musical personalities. His sister Emily Whitehurst is best known as the distinctive singer of the pop-punk band \u003ca href=\"https://www.youtube.com/watch?v=ILUDIHIEvto\" rel=\"noopener\" target=\"_blank\">Tsunami Bomb\u003c/a>, and his older brother \u003ca href=\"http://www.loganwhitehurst.com/main.html\" rel=\"noopener\" target=\"_blank\">Logan Whitehurst\u003c/a>, who died of cancer in 2006, was a madcap genius whose clever songs captivated \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127989850\" target=\"_blank\" rel=\"noopener\">Dr. Demento\u003c/a> and the nerdier corners of the early internet. But I often wondered while listening to Trebuchet’s early recordings, “When is Elliott going to find \u003cem>his\u003c/em> voice?”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1069385722/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Volte-Face\u003c/em> is the answer, writ large. With the expert backing of Navid Manoochehri, Lauren Haile, and Paul Haile — whose background with both Fleet Foxes-esque folk forms and majestic, sweeping Explosions In The Sky-type instrumentals is evident here — the songs breathe and pulse dramatically while traversing a relationship that over-ripens and turns into something rotten. By the end, as Whitehurst lets go of all lingering guilt, a giant choir repeats the refrain “She’ll be fine,” as a mantra to washing one’s hands of another’s needs. It’s a perfect ending to the album — a huge release of liberation.\u003c/p>\n\u003cp>Elliott Whitehurst should not get married more often. \u003cem>Volte-Face\u003c/em> is a gift.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was 2am, the night before his wedding, when Elliott Whitehurst woke up his dad.\u003c/p>\n\u003cp>The ceremony was already set, friends and family in town. But suddenly, Whitehurst realized he was making a mistake. His dad heard him out, about how he’d wanted to make his fiancée happy but lost himself in the process. He knew it. His friends knew it. His bandmates definitely knew it.\u003c/p>\n\u003cp>Whitehurst’s dad said he understood. Hours before the ceremony, the wedding was called off.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3562985535/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>That night and the events surrounding it form the core of Trebuchet’s \u003cem>Volte-Face\u003c/em>, a gorgeous, indie-folk song cycle about growing older, trying manhood on for size, aiming to please, failing oneself, watching a love turn sour and corrosive, and ultimately choosing self-preservation. It’s not bitter, or angry, or pessimistic. It contains piano, ukeleles, shimmering guitars, and four-part harmonies galore. I surprised myself by listening to it more than any other album in 2017, each time finding new moments of beauty and calm during this year of constant terror.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hailing from Petaluma, Trebuchet put out two previous records that were pleasant enough, but felt too by-the-numbers. Whitehurst, generally a quiet person, comes from a family of bold musical personalities. His sister Emily Whitehurst is best known as the distinctive singer of the pop-punk band \u003ca href=\"https://www.youtube.com/watch?v=ILUDIHIEvto\" rel=\"noopener\" target=\"_blank\">Tsunami Bomb\u003c/a>, and his older brother \u003ca href=\"http://www.loganwhitehurst.com/main.html\" rel=\"noopener\" target=\"_blank\">Logan Whitehurst\u003c/a>, who died of cancer in 2006, was a madcap genius whose clever songs captivated \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127989850\" target=\"_blank\" rel=\"noopener\">Dr. Demento\u003c/a> and the nerdier corners of the early internet. But I often wondered while listening to Trebuchet’s early recordings, “When is Elliott going to find \u003cem>his\u003c/em> voice?”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1069385722/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Volte-Face\u003c/em> is the answer, writ large. With the expert backing of Navid Manoochehri, Lauren Haile, and Paul Haile — whose background with both Fleet Foxes-esque folk forms and majestic, sweeping Explosions In The Sky-type instrumentals is evident here — the songs breathe and pulse dramatically while traversing a relationship that over-ripens and turns into something rotten. By the end, as Whitehurst lets go of all lingering guilt, a giant choir repeats the refrain “She’ll be fine,” as a mantra to washing one’s hands of another’s needs. It’s a perfect ending to the album — a huge release of liberation.\u003c/p>\n\u003cp>Elliott Whitehurst should not get married more often. \u003cem>Volte-Face\u003c/em> is a gift.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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": {
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