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"content": "\u003cp>In a reception celebrated with sake and handmade onigiri, the San Francisco gallery Glass Rice opened \u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>, a duo presentation of work by Maya Fuji and Shingo Yamazaki, in late October. The exhibition features delicate paintings by each artist, in addition to an immersive VR recreation of Fuji’s grandmother’s house in Kanazawa, Japan.\u003c/p>\n\u003cp>\u003ci>Osato/Quiet Conversations\u003c/i> represents a soft gaze inward and backwards in search of home, or “osato,” the Japanese term for a person’s hometown or upbringing. In the exhibition, Fuji and Yamazaki both explore the remaking of memories held within familial spaces. Mundane objects like house slippers, Pokémon cards and tissue boxes act as quiet elements that both evoke memory and give it texture.\u003c/p>\n\u003cp>Fuji, for instance, uses family oral history, photographs and home videos to create new moments within her grandmother’s house. Meanwhile, Yamazaki, who was born and raised in Honolulu, paints quiet indoor scenes entwined with distinctly Hawaiian motifs. As a second-generation Japanese and Korean American “without full access to his Zainichi (Koreans living in Japan) lineage,” as stated in the exhibition’s press release, he renegotiates feelings of longing and a fragmented sense of belonging through visually complicated glimpses into “home.”\u003c/p>\n\u003cp>Both artists quietly interweave artifacts of growing up as mixed-race Asians in America into their work, gesturing towards the intimacy of interior spaces. Through these cultural references, Fuji and Yamazaki call upon the ability of mundane objects to elicit a viewer’s memories, making those experiences integral to the meaning-making of the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13983583\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg\" alt=\"Painting: A hand holds a marble taken from a Japanese soda bottle on the floor below.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Finally Mine,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Fuji’s painting, \u003ci>Marble of My Eye\u003c/i>, soft hands cradle a precious glass ball from within a Ramune Japanese soda bottle, reminding me of my own childhood memories of trying to get that ball out of the bottle with my brother. In Yamazaki’s \u003ci>Front of House\u003c/i> — a double meaning, as the depicted space functions as both his family’s restaurant and home — Yamazaki renders a distinct still from \u003ci>Sailor Moon\u003c/i> on a TV set, juxtaposing that with a vanitas-style arrangement of hurriedly written notes cluttered around a cash register.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the opening, the exhibition sparked so many conversations about shared memories of watching shows like \u003ci>Sailor Moon\u003c/i> and \u003ci>Pokémon\u003c/i>. “A lot of the things they reference in their paintings from when we were growing up in the ’90s and early 2000s hits really close to home for me too,” says Glass Rice director Cecilia Chia. “I really love these layers and meanings of home as what kind of defines your character.”\u003c/p>\n\u003cp>A beaded red curtain in the back of the gallery marks the threshold to Fuji’s virtual world. In this VR environment, created in Fuji’s signature style (developed in partnership with VR developer Storm Griffith), viewers navigate the quiet Kanazawa countryside home of the artist’s grandmother depicted in so many of the paintings on view.\u003c/p>\n\u003cp>[aside postID='arts_13981726']Visitors can virtually move through the house and pick up the objects that fill the space — like plates of steamed buns or maneki neko Lucky Cat figurines — and overhear the familiar sounds of family chatter, a home video and the gentle hum of a Kanazawa street.\u003c/p>\n\u003cp>Going through the virtual house, I could almost imagine myself embodied as one of the soft, sensual, almost divine feminine figures that are signature to Fuji’s work, like the central figures in pieces like \u003ci>Listening・聞き耳\u003c/i>, her largest painting on view. By activating Fuji’s paintings in an immersive virtual space, memory becomes something that is alive, awake and even playful.\u003c/p>\n\u003cfigure id=\"attachment_13983585\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg\" alt=\"Painting: Inside a traditional Japanese room, two nude Asian women. One cleans the ears of the other with a pick while her companion reclines in her lap.\" width=\"2000\" height=\"1176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-1536x903.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Listening・聞き耳,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Home is what we make of it. In the end, \u003ci>Osato/Quiet Conversations\u003c/i> comes to no distinct answers about home, belonging or what it means to represent those things. Fuji and Yamazaki never represent feelings of cultural in-betweenness as “half” or otherwise un-whole. Instead, their paintings create generative representations of hybridity and overlap, whether that be through Yamazaki’s obscuring hazy washes and translucent lines or Fuji’s playful fusing of contemporary and Y2K aesthetics with traditional Japanese objects and folklore.\u003c/p>\n\u003cp>Both artists reflect the hazy and disjointed nature of memory and family storytelling while also envisioning profound remakings of home. Fuji and Yamazaki leave room for multiple realities of home, whether it is fogged by the passing of time, sharply remembered in home videos, or made into myth by the artist’s own hand. For them, ‘osato’ is the foundation upon which we all must constantly renegotiate what belonging means to us.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003c/i>\u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>\u003ci>’ is on view through Dec. 6, 2025 at Glass Rice (808 Sutter St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"excerpt": "The new exhibition by artists Maya Fuji and Shingo Yamazaki is on view at Glass Rice in San Francisco.",
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"title": "Review of 'Osato/Quiet Conversations' at Glass Rice in SF | KQED",
"description": "The new exhibition by artists Maya Fuji and Shingo Yamazaki is on view at Glass Rice in San Francisco.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a reception celebrated with sake and handmade onigiri, the San Francisco gallery Glass Rice opened \u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>, a duo presentation of work by Maya Fuji and Shingo Yamazaki, in late October. The exhibition features delicate paintings by each artist, in addition to an immersive VR recreation of Fuji’s grandmother’s house in Kanazawa, Japan.\u003c/p>\n\u003cp>\u003ci>Osato/Quiet Conversations\u003c/i> represents a soft gaze inward and backwards in search of home, or “osato,” the Japanese term for a person’s hometown or upbringing. In the exhibition, Fuji and Yamazaki both explore the remaking of memories held within familial spaces. Mundane objects like house slippers, Pokémon cards and tissue boxes act as quiet elements that both evoke memory and give it texture.\u003c/p>\n\u003cp>Fuji, for instance, uses family oral history, photographs and home videos to create new moments within her grandmother’s house. Meanwhile, Yamazaki, who was born and raised in Honolulu, paints quiet indoor scenes entwined with distinctly Hawaiian motifs. As a second-generation Japanese and Korean American “without full access to his Zainichi (Koreans living in Japan) lineage,” as stated in the exhibition’s press release, he renegotiates feelings of longing and a fragmented sense of belonging through visually complicated glimpses into “home.”\u003c/p>\n\u003cp>Both artists quietly interweave artifacts of growing up as mixed-race Asians in America into their work, gesturing towards the intimacy of interior spaces. Through these cultural references, Fuji and Yamazaki call upon the ability of mundane objects to elicit a viewer’s memories, making those experiences integral to the meaning-making of the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13983583\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg\" alt=\"Painting: A hand holds a marble taken from a Japanese soda bottle on the floor below.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Finally Mine,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Fuji’s painting, \u003ci>Marble of My Eye\u003c/i>, soft hands cradle a precious glass ball from within a Ramune Japanese soda bottle, reminding me of my own childhood memories of trying to get that ball out of the bottle with my brother. In Yamazaki’s \u003ci>Front of House\u003c/i> — a double meaning, as the depicted space functions as both his family’s restaurant and home — Yamazaki renders a distinct still from \u003ci>Sailor Moon\u003c/i> on a TV set, juxtaposing that with a vanitas-style arrangement of hurriedly written notes cluttered around a cash register.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the opening, the exhibition sparked so many conversations about shared memories of watching shows like \u003ci>Sailor Moon\u003c/i> and \u003ci>Pokémon\u003c/i>. “A lot of the things they reference in their paintings from when we were growing up in the ’90s and early 2000s hits really close to home for me too,” says Glass Rice director Cecilia Chia. “I really love these layers and meanings of home as what kind of defines your character.”\u003c/p>\n\u003cp>A beaded red curtain in the back of the gallery marks the threshold to Fuji’s virtual world. In this VR environment, created in Fuji’s signature style (developed in partnership with VR developer Storm Griffith), viewers navigate the quiet Kanazawa countryside home of the artist’s grandmother depicted in so many of the paintings on view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Visitors can virtually move through the house and pick up the objects that fill the space — like plates of steamed buns or maneki neko Lucky Cat figurines — and overhear the familiar sounds of family chatter, a home video and the gentle hum of a Kanazawa street.\u003c/p>\n\u003cp>Going through the virtual house, I could almost imagine myself embodied as one of the soft, sensual, almost divine feminine figures that are signature to Fuji’s work, like the central figures in pieces like \u003ci>Listening・聞き耳\u003c/i>, her largest painting on view. By activating Fuji’s paintings in an immersive virtual space, memory becomes something that is alive, awake and even playful.\u003c/p>\n\u003cfigure id=\"attachment_13983585\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg\" alt=\"Painting: Inside a traditional Japanese room, two nude Asian women. One cleans the ears of the other with a pick while her companion reclines in her lap.\" width=\"2000\" height=\"1176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-1536x903.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Listening・聞き耳,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Home is what we make of it. In the end, \u003ci>Osato/Quiet Conversations\u003c/i> comes to no distinct answers about home, belonging or what it means to represent those things. Fuji and Yamazaki never represent feelings of cultural in-betweenness as “half” or otherwise un-whole. Instead, their paintings create generative representations of hybridity and overlap, whether that be through Yamazaki’s obscuring hazy washes and translucent lines or Fuji’s playful fusing of contemporary and Y2K aesthetics with traditional Japanese objects and folklore.\u003c/p>\n\u003cp>Both artists reflect the hazy and disjointed nature of memory and family storytelling while also envisioning profound remakings of home. Fuji and Yamazaki leave room for multiple realities of home, whether it is fogged by the passing of time, sharply remembered in home videos, or made into myth by the artist’s own hand. For them, ‘osato’ is the foundation upon which we all must constantly renegotiate what belonging means to us.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003c/i>\u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>\u003ci>’ is on view through Dec. 6, 2025 at Glass Rice (808 Sutter St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "zaccho-dance-theatre-joanna-haigood-45-year-anniversary",
"title": "Zaccho Dance Theatre To Celebrate 45 Years of Daring Performances",
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"content": "\u003cp>When award-winning dancer and choreographer \u003ca href=\"https://www.zaccho.org/?bios_staff-zdt\">Joanna Haigood\u003c/a> co-founded Zaccho Dance Theatre 45 years ago, she leaned into site-specific work using unique locations and creative choreography to move people, literally and figuratively.\u003c/p>\n\u003cp>By suspending dancers in air, dressing artists in eye-catching costumes and utilizing storytelling to illustrate the human spirit, she wanted to push audiences to reimagine our collective environment and reconsider how we interact with the world around us.\u003c/p>\n\u003cp>[aside postID='arts_13978071']Now, nearly a half-century later, she has choreographed performances at government buildings, defunct grain silos and public parks. She’s created pieces criticizing the death penalty, and others celebrating San Francisco’s diversity.\u003c/p>\n\u003cp>Most importantly, she says, she’s helped pave the way for the next generation by helping young folks believe in their own voices. Some of Haigood’s former students have become dancers and choreographers. Others are community leaders and city employees.\u003c/p>\n\u003cfigure id=\"attachment_13983552\" class=\"wp-caption aligncenter\" style=\"max-width: 1792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg\" alt=\"A woman with short hair poses for a photo with her left palm on her chin. \" width=\"1792\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg 1792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1075x1536.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1434x2048.jpg 1434w\" sizes=\"auto, (max-width: 1792px) 100vw, 1792px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Haigood, co-founder and executive artistic director of Zaccho Dance Theatre. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During those full-circle moments, when she crosses paths with former students, their children or grandchildren, Haigood says, “That’s kind of a testament to the good work. And the fact that we’re really aging.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Tuesday, Nov. 11, former students, teachers, dancers of Zaccho Dance Theatre will help celebrate the company’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary with a benefit concert\u003c/a>.\u003c/p>\n\u003cp>The show’s lineup includes renowned Bay Area musicians \u003ca href=\"https://marcusshelby.com/\">Marcus Shelby,\u003c/a> \u003ca href=\"https://www.tiffanyaustin.com/\">Tiffany Austin\u003c/a>, and \u003ca href=\"https://www.instagram.com/martinluthermccoy/?hl=en\">Martin Luther McCoy\u003c/a>. They’ll be joined by circus artists \u003ca href=\"https://www.instagram.com/acrocannon/?hl=en\">Toni Cannon\u003c/a> and \u003ca href=\"https://www.ya-nc.org/index.php/artists/coventry-and-kaluza\">Natasha Kaluza\u003c/a>, as well as storyteller \u003ca href=\"http://www.dianeferlatte.com/dianestory.html\">Diane Ferlatte\u003c/a>, \u003ca href=\"https://www.joeythetiger.com/about\">aerialist \u003cspan class=\"color_45 wixui-rich-text__text\">Joey The Tiger, \u003c/span>\u003c/a>Grammy-award winning beatboxer and music educator \u003ca href=\"https://www.instagram.com/emceesoulati/?hl=en\">Tommy “Soulati” Shepherd\u003c/a> and more.\u003c/p>\n\u003cfigure id=\"attachment_13983550\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38%E2%80%AFPM.png\" alt=\"A handful of dancers perform on stage in front of a projected image of two African-American people on a wall. \" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-1536x1015.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Picture Bayview Hunters Point’ (2018), part of a trilogy of performances along with ‘Picture Red Hook’ (2002) and ‘Picture Powderhorn’ (2000) that highlights the dreams and ambitions of inner-city communities amid transition. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://www.zacchoevents.org/directors-note\">a director’s note\u003c/a> ahead of the event, Haigood writes, “Forty-five years is a long time to commit to anything, especially in the arts, where survival is a constant challenge.”\u003c/p>\n\u003cp>Despite this year’s widespread cuts to nonprofit funding and arts programs, which she says isn’t anything new (“we are always fighting for our survival”), Haigood believes artists will always figure out a way.\u003c/p>\n\u003cp>“Our urge to create is something that you can’t suppress,” Haigood attests. “There’ll always be artists.”\u003c/p>\n\u003cfigure id=\"attachment_13983565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48%E2%80%AFAM.png\" alt=\"Dancers use harnesses to suspend themselves atop the clocktower at San Francisco's Ferry Building. \" width=\"2000\" height=\"2998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-768x1151.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1025x1536.png 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1366x2048.png 1366w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zaccho Dance Theatre artists use harnesses to suspend themselves atop the clock tower at San Francisco’s Ferry Building as a part of the performance piece ‘NOON.’ \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From Hunters Point to State Parks\u003c/h2>\n\u003cp>Raised in New York, Haigood attended \u003ca href=\"https://www.bard.edu/news/bard-alumna-joanna-haigood-79-honored-with-2024-dance-magazine-award-2024-10-22\">Bard College\u003c/a>, where as a senior she was inspired by the Puccini opera \u003cem>Gianni Schicchi\u003c/em>. Working with a group of friends, she created a dance piece for her final project that, after graduating, they took on tour in Europe.\u003c/p>\n\u003cp>“Which,” she says, “was a remarkable feat for young people.” The collective included a small chamber orchestra, a group of dancers and a big production team. That experience gave her a glimpse into her career path. “My future in dance,” says Haigood, “was to be a choreographer.”\u003c/p>\n\u003cp>As the calendar flipped from 1979 to 1980, Haigood moved to the Bay Area and co-founded Zaccho Dance Theatre with Lynda Riemann, who left the company a few years later.\u003c/p>\n\u003cp>One of Zaccho’s earliest performances was \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_trees-from-the-backyard\">Trees From the Backyard\u003c/a>\u003c/em>, part of the 1983 San Francisco International Theater Festival held at Buena Vista Park in San Francisco and Samuel P. Taylor State Park in Marin County.\u003c/p>\n\u003cfigure id=\"attachment_13983554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46%E2%80%AFPM.png\" alt=\"A person suspended in air by a harness connected to a tree, wearing a bird mask. \" width=\"2000\" height=\"1339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-1536x1028.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Trees from the Backyard,’ a 1983 environmental performance at the San Francisco International Theater Festival. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was living in a forest,” says Haigood matter-of-factly, explaining that she’d become fascinated by trees and their larger ecosystems; she even took up a gig working in a state park.\u003c/p>\n\u003cp>While working in nature, she thought: “Well, if I’m spending all this time here, maybe I can find some way to enter from my creative side.” The result was a performance where humans dressed as birds perched in trees and audience members followed the flute of a pied piper through a park.\u003c/p>\n\u003cp>Six years later, Zaccho Dance Theatre moved into a former Serta mattress warehouse-factory in Bayview-Hunters Point. Aware of the neighborhood’s issues with over-policing and the influence of crack cocaine, as well as community members’ longstanding ability to organize and advocate for themselves, Haigood wanted to be involved.\u003c/p>\n\u003cp>“That’s part of the motivation for starting our youth program,” she says, crediting team members who helped establish the program, including \u003ca href=\"https://www.youtube.com/watch?v=N_LzBNES0nM\">Jo Kreiter\u003c/a>, who would go on to found Flyaway Productions, and the late \u003ca href=\"https://www.instagram.com/p/DMbOgUpTjuU/?img_index=2\">Shakiri\u003c/a>.\u003c/p>\n\u003cp>Zaccho Dance Theatre has since added an Artist in Residency program and the San Francisco Aerial Arts Festival into their fold, as well as a Hip-Hop Artist Residency & Training Program and a Black Futures Fellowship.\u003c/p>\n\u003cfigure id=\"attachment_13983586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Matthew Wickett, Rashad Pridgen and Antoine Hunter in Joanna Haigood’s ‘Dying While Black and Brown’ (2011). \u003ccite>(Kegan Marlingo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reflecting San Francisco’s ‘True Diversity’\u003c/h2>\n\u003cp>While constantly expanding the organization and sinking deeper into community, Haigood maintained her own practice.\u003c/p>\n\u003cp>At the turn of the millennium, she debuted the first piece in her \u003cem>Pictured Trilogy\u003c/em>, with \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_picture-powderhorn\">Picture Powderhorn\u003c/a>\u003c/em>. The performance, based in the Minneapolis neighborhood where George Floyd was later murdered, included large images projected on a grain silo while dancers, suspended in air, performed above the audience below. The aim of the work was to bring attention to the hopes and dreams of working-class people in underfunded communities.\u003c/p>\n\u003cp>A decade later, Haigood \u003ca href=\"https://youtu.be/BbU-Dn82VaU\">debuted\u003c/a> her piece \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_dying-while-black-and-brown\">Dying While Black and Brown\u003c/a>\u003c/em>, co-created with Marcus Shelby, and featuring Steven Anthony Jones. Haigood traces the origins of the piece back to her partnership with civil rights attorney Eva Patterson, co-founder of the \u003ca href=\"https://equaljusticesociety.org/\">Equal Justice Society\u003c/a>.\u003c/p>\n\u003cp>“She had this extraordinary vision,” says Haigood, explaining that Patterson’s organization was using art to bring people deeper into legal issues, like abolishing the death penalty.\u003c/p>\n\u003cfigure id=\"attachment_13983587\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13983587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ciarra D’Onofrio and Veronica Blair in Joanna Haigood’s ‘The People’s Palace’ (2024) at San Francisco City Hall. \u003ccite>(Walter Kitundu / Courtesy Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2024, Haigood debuted another piece that mixed politics and dance on the steps of San Francisco’s City Hall. Backed by a \u003ca href=\"https://www.youtube.com/watch?v=rXO826xnjqQ\">2023 Ranin Fellowship\u003c/a>, she created \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_the-peoples-palace\">The People’s Palace\u003c/a>\u003c/em>, with pristine lighting, elegant costumes and dancers levitating through the decadent halls just outside of the mayor’s office.\u003c/p>\n\u003cp>She created the piece, she says, to reflect the true diversity of San Francisco. In doing so, Haigood did some “deep learning about the impact of architecture on the way we see ourselves and interact with each other on a civic level.” (She quips that “it was time for some type of intervention with the architecture.”) \u003c/p>\n\u003cfigure id=\"attachment_13983553\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg\" alt=\"A woman in a jean jacket walking through a garden.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-1536x1029.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aside from dance, Joanna Haigood loves nature, periodically incorporating it into her artwork. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haigood, \u003ca href=\"https://www.gf.org/fellows/joanna-haigood\">a 1997 Guggenheim Fellow\u003c/a> and winner of the 2014 Doris Duke Performing Artist Award, hopes for the day when artists are seen as essential workers, and the understanding that “without them we will not survive.”\u003c/p>\n\u003cp>A purveyor of art as a means of building community, stimulating the economy and encouraging political discourse, Haigood realizes that her dedication to creativity comes with struggle.\u003c/p>\n\u003cp>But, she says, “I would not change my life in any way. It’s been a pretty remarkable and meaningful journey.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Zaccho Dance Theatre’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary benefit concert\u003c/a> starts at 6 p.m on Tuesday, Nov. 11, at Club Fugazi (678 Green St, San Francisco, CA 94133). \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">Check here for tickets and information\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "With creative choreography in unique spaces, Zaccho Dance Theatre has built an unparalleled legacy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When award-winning dancer and choreographer \u003ca href=\"https://www.zaccho.org/?bios_staff-zdt\">Joanna Haigood\u003c/a> co-founded Zaccho Dance Theatre 45 years ago, she leaned into site-specific work using unique locations and creative choreography to move people, literally and figuratively.\u003c/p>\n\u003cp>By suspending dancers in air, dressing artists in eye-catching costumes and utilizing storytelling to illustrate the human spirit, she wanted to push audiences to reimagine our collective environment and reconsider how we interact with the world around us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, nearly a half-century later, she has choreographed performances at government buildings, defunct grain silos and public parks. She’s created pieces criticizing the death penalty, and others celebrating San Francisco’s diversity.\u003c/p>\n\u003cp>Most importantly, she says, she’s helped pave the way for the next generation by helping young folks believe in their own voices. Some of Haigood’s former students have become dancers and choreographers. Others are community leaders and city employees.\u003c/p>\n\u003cfigure id=\"attachment_13983552\" class=\"wp-caption aligncenter\" style=\"max-width: 1792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg\" alt=\"A woman with short hair poses for a photo with her left palm on her chin. \" width=\"1792\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg 1792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1075x1536.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1434x2048.jpg 1434w\" sizes=\"auto, (max-width: 1792px) 100vw, 1792px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Haigood, co-founder and executive artistic director of Zaccho Dance Theatre. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During those full-circle moments, when she crosses paths with former students, their children or grandchildren, Haigood says, “That’s kind of a testament to the good work. And the fact that we’re really aging.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Tuesday, Nov. 11, former students, teachers, dancers of Zaccho Dance Theatre will help celebrate the company’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary with a benefit concert\u003c/a>.\u003c/p>\n\u003cp>The show’s lineup includes renowned Bay Area musicians \u003ca href=\"https://marcusshelby.com/\">Marcus Shelby,\u003c/a> \u003ca href=\"https://www.tiffanyaustin.com/\">Tiffany Austin\u003c/a>, and \u003ca href=\"https://www.instagram.com/martinluthermccoy/?hl=en\">Martin Luther McCoy\u003c/a>. They’ll be joined by circus artists \u003ca href=\"https://www.instagram.com/acrocannon/?hl=en\">Toni Cannon\u003c/a> and \u003ca href=\"https://www.ya-nc.org/index.php/artists/coventry-and-kaluza\">Natasha Kaluza\u003c/a>, as well as storyteller \u003ca href=\"http://www.dianeferlatte.com/dianestory.html\">Diane Ferlatte\u003c/a>, \u003ca href=\"https://www.joeythetiger.com/about\">aerialist \u003cspan class=\"color_45 wixui-rich-text__text\">Joey The Tiger, \u003c/span>\u003c/a>Grammy-award winning beatboxer and music educator \u003ca href=\"https://www.instagram.com/emceesoulati/?hl=en\">Tommy “Soulati” Shepherd\u003c/a> and more.\u003c/p>\n\u003cfigure id=\"attachment_13983550\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38%E2%80%AFPM.png\" alt=\"A handful of dancers perform on stage in front of a projected image of two African-American people on a wall. \" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-1536x1015.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Picture Bayview Hunters Point’ (2018), part of a trilogy of performances along with ‘Picture Red Hook’ (2002) and ‘Picture Powderhorn’ (2000) that highlights the dreams and ambitions of inner-city communities amid transition. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://www.zacchoevents.org/directors-note\">a director’s note\u003c/a> ahead of the event, Haigood writes, “Forty-five years is a long time to commit to anything, especially in the arts, where survival is a constant challenge.”\u003c/p>\n\u003cp>Despite this year’s widespread cuts to nonprofit funding and arts programs, which she says isn’t anything new (“we are always fighting for our survival”), Haigood believes artists will always figure out a way.\u003c/p>\n\u003cp>“Our urge to create is something that you can’t suppress,” Haigood attests. “There’ll always be artists.”\u003c/p>\n\u003cfigure id=\"attachment_13983565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48%E2%80%AFAM.png\" alt=\"Dancers use harnesses to suspend themselves atop the clocktower at San Francisco's Ferry Building. \" width=\"2000\" height=\"2998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-768x1151.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1025x1536.png 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1366x2048.png 1366w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zaccho Dance Theatre artists use harnesses to suspend themselves atop the clock tower at San Francisco’s Ferry Building as a part of the performance piece ‘NOON.’ \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From Hunters Point to State Parks\u003c/h2>\n\u003cp>Raised in New York, Haigood attended \u003ca href=\"https://www.bard.edu/news/bard-alumna-joanna-haigood-79-honored-with-2024-dance-magazine-award-2024-10-22\">Bard College\u003c/a>, where as a senior she was inspired by the Puccini opera \u003cem>Gianni Schicchi\u003c/em>. Working with a group of friends, she created a dance piece for her final project that, after graduating, they took on tour in Europe.\u003c/p>\n\u003cp>“Which,” she says, “was a remarkable feat for young people.” The collective included a small chamber orchestra, a group of dancers and a big production team. That experience gave her a glimpse into her career path. “My future in dance,” says Haigood, “was to be a choreographer.”\u003c/p>\n\u003cp>As the calendar flipped from 1979 to 1980, Haigood moved to the Bay Area and co-founded Zaccho Dance Theatre with Lynda Riemann, who left the company a few years later.\u003c/p>\n\u003cp>One of Zaccho’s earliest performances was \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_trees-from-the-backyard\">Trees From the Backyard\u003c/a>\u003c/em>, part of the 1983 San Francisco International Theater Festival held at Buena Vista Park in San Francisco and Samuel P. Taylor State Park in Marin County.\u003c/p>\n\u003cfigure id=\"attachment_13983554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46%E2%80%AFPM.png\" alt=\"A person suspended in air by a harness connected to a tree, wearing a bird mask. \" width=\"2000\" height=\"1339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-1536x1028.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Trees from the Backyard,’ a 1983 environmental performance at the San Francisco International Theater Festival. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was living in a forest,” says Haigood matter-of-factly, explaining that she’d become fascinated by trees and their larger ecosystems; she even took up a gig working in a state park.\u003c/p>\n\u003cp>While working in nature, she thought: “Well, if I’m spending all this time here, maybe I can find some way to enter from my creative side.” The result was a performance where humans dressed as birds perched in trees and audience members followed the flute of a pied piper through a park.\u003c/p>\n\u003cp>Six years later, Zaccho Dance Theatre moved into a former Serta mattress warehouse-factory in Bayview-Hunters Point. Aware of the neighborhood’s issues with over-policing and the influence of crack cocaine, as well as community members’ longstanding ability to organize and advocate for themselves, Haigood wanted to be involved.\u003c/p>\n\u003cp>“That’s part of the motivation for starting our youth program,” she says, crediting team members who helped establish the program, including \u003ca href=\"https://www.youtube.com/watch?v=N_LzBNES0nM\">Jo Kreiter\u003c/a>, who would go on to found Flyaway Productions, and the late \u003ca href=\"https://www.instagram.com/p/DMbOgUpTjuU/?img_index=2\">Shakiri\u003c/a>.\u003c/p>\n\u003cp>Zaccho Dance Theatre has since added an Artist in Residency program and the San Francisco Aerial Arts Festival into their fold, as well as a Hip-Hop Artist Residency & Training Program and a Black Futures Fellowship.\u003c/p>\n\u003cfigure id=\"attachment_13983586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Matthew Wickett, Rashad Pridgen and Antoine Hunter in Joanna Haigood’s ‘Dying While Black and Brown’ (2011). \u003ccite>(Kegan Marlingo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reflecting San Francisco’s ‘True Diversity’\u003c/h2>\n\u003cp>While constantly expanding the organization and sinking deeper into community, Haigood maintained her own practice.\u003c/p>\n\u003cp>At the turn of the millennium, she debuted the first piece in her \u003cem>Pictured Trilogy\u003c/em>, with \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_picture-powderhorn\">Picture Powderhorn\u003c/a>\u003c/em>. The performance, based in the Minneapolis neighborhood where George Floyd was later murdered, included large images projected on a grain silo while dancers, suspended in air, performed above the audience below. The aim of the work was to bring attention to the hopes and dreams of working-class people in underfunded communities.\u003c/p>\n\u003cp>A decade later, Haigood \u003ca href=\"https://youtu.be/BbU-Dn82VaU\">debuted\u003c/a> her piece \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_dying-while-black-and-brown\">Dying While Black and Brown\u003c/a>\u003c/em>, co-created with Marcus Shelby, and featuring Steven Anthony Jones. Haigood traces the origins of the piece back to her partnership with civil rights attorney Eva Patterson, co-founder of the \u003ca href=\"https://equaljusticesociety.org/\">Equal Justice Society\u003c/a>.\u003c/p>\n\u003cp>“She had this extraordinary vision,” says Haigood, explaining that Patterson’s organization was using art to bring people deeper into legal issues, like abolishing the death penalty.\u003c/p>\n\u003cfigure id=\"attachment_13983587\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13983587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ciarra D’Onofrio and Veronica Blair in Joanna Haigood’s ‘The People’s Palace’ (2024) at San Francisco City Hall. \u003ccite>(Walter Kitundu / Courtesy Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2024, Haigood debuted another piece that mixed politics and dance on the steps of San Francisco’s City Hall. Backed by a \u003ca href=\"https://www.youtube.com/watch?v=rXO826xnjqQ\">2023 Ranin Fellowship\u003c/a>, she created \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_the-peoples-palace\">The People’s Palace\u003c/a>\u003c/em>, with pristine lighting, elegant costumes and dancers levitating through the decadent halls just outside of the mayor’s office.\u003c/p>\n\u003cp>She created the piece, she says, to reflect the true diversity of San Francisco. In doing so, Haigood did some “deep learning about the impact of architecture on the way we see ourselves and interact with each other on a civic level.” (She quips that “it was time for some type of intervention with the architecture.”) \u003c/p>\n\u003cfigure id=\"attachment_13983553\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg\" alt=\"A woman in a jean jacket walking through a garden.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-1536x1029.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aside from dance, Joanna Haigood loves nature, periodically incorporating it into her artwork. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haigood, \u003ca href=\"https://www.gf.org/fellows/joanna-haigood\">a 1997 Guggenheim Fellow\u003c/a> and winner of the 2014 Doris Duke Performing Artist Award, hopes for the day when artists are seen as essential workers, and the understanding that “without them we will not survive.”\u003c/p>\n\u003cp>A purveyor of art as a means of building community, stimulating the economy and encouraging political discourse, Haigood realizes that her dedication to creativity comes with struggle.\u003c/p>\n\u003cp>But, she says, “I would not change my life in any way. It’s been a pretty remarkable and meaningful journey.”\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>Zaccho Dance Theatre’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary benefit concert\u003c/a> starts at 6 p.m on Tuesday, Nov. 11, at Club Fugazi (678 Green St, San Francisco, CA 94133). \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">Check here for tickets and information\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Life Is a Choice’: Filmmaker Lorrie Chang Questions Reincarnation",
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"content": "\u003cp>The film \u003cem>\u003ca href=\"https://www.instagram.com/aintsamsara_shortfilm/\">Ain’t Samsāra a Bitch\u003c/a>\u003c/em> takes the universal questions about the meaning of life and what happens after death, and adds another layer: If given the choice, would you come back to life?\u003c/p>\n\u003cp>A deep-seated belief in reincarnation has resonated around the world throughout human existence. But having a personal choice in the matter — as opposed to the fate of the universe or the command of a higher power — speaks directly to filmmaker Lorrie Chang’s beliefs.\u003c/p>\n\u003cp>“I feel like life is a choice,” she says during a phone call. “So why would the afterlife be any different?”\u003c/p>\n\u003cfigure id=\"attachment_13983351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983351\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-scaled.jpg\" alt=\"A Chinese-American woman with dyed red hair and a hooded sweater poses for a photo. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker and poet Lorrie Chang, raised in San Francisco’s Chinatown, says having her debut film shown at the Great Star Theater is a full-circle moment. \u003ccite>(Courtesy of Lorrie Chang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As hefty a concept it may be for a short film, the 10-minute movie (which \u003ca href=\"https://tickets.greatstartheater.org/events/greatstartheater/1899882\">screens Nov. 12 at the Great Star Theater\u003c/a> in San Francisco’s Chinatown) is an excerpt from a longer script Chang hopes to produce in the near future. But even in short form, she packs a lot in.\u003c/p>\n\u003cp>By focusing in on the relationship between three generations of women, Chang uses candid conversations to highlight the heartbreak of family separation that often comes with immigration — while pushing audiences to think about their own life’s purpose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chang touches on the Buddhist beliefs of \u003ca href=\"https://www.bbc.co.uk/religion/religions/buddhism/subdivisions/pureland_1.shtml\">the Pure Land\u003c/a> and reincarnation, or \u003ca href=\"https://www.britannica.com/topic/samsara\">samsāra\u003c/a>. She also explores the concept of “soul contracts,” the idea that we’re all sent to this plane of existence to help one another. Add it all up, Chang says, and it shows how truly interconnected we are as a people.\u003c/p>\n\u003cp>During an important scene in the film, Lo Ma, played by Jennifer Chia, turns to her daughter and says, “When we meet with other souls, we decide what we’ll help each other with on the School of Earth.” Holding a soul contract written on an unfurled scroll, Lo Ma continues, “Together, we learn the infinite ways of love.”\u003c/p>\n\u003cp>[aside postID='arts_13982072']With spoken dialogue in Cantonese, and English subtitles, Chang’s film also subtly provides a window into her own upbringing, from her complicated relationship with her mother to her renewed connection to San Francisco’s Chinatown community.\u003c/p>\n\u003cp>The movie, directed by painter and filmmaker \u003ca href=\"https://www.ujjayinisikha.com/\">Ujjayini Sikha,\u003c/a> stars \u003ca href=\"https://www.imdb.com/name/nm17508571/\">Natalie Nakamine\u003c/a> as Grace and Lucia Choi-Dalton (who also sits on KQED’s Board of Directors) as Chun Mei.\u003c/p>\n\u003cp>The Nov. 12 screening is part of a larger event called “Come Rest in the Middle,” a title derived from \u003cem>\u003ca href=\"https://fiveinvitations.com/\" target=\"_blank\" rel=\"noopener\">The Five Invitations: Discovering What Death Can Teach Us About Living Fully\u003c/a>\u003c/em> by Frank Ostaseski, a Buddhist teacher and founder of the Zen Hospice Project.\u003c/p>\n\u003cp>In addition to a musical performance by \u003ca href=\"https://www.instagram.com/nichampton\">Nic Hampton\u003c/a> and a bilingual (Mandarin and English) poetry recital by \u003ca href=\"https://chunyu.org/\" target=\"_blank\" rel=\"noopener\">Chun Yu\u003c/a>, the evening includes a screening of \u003ca href=\"https://www.youtube.com/watch?v=O490OURqPKM\">\u003cem>Unsung Heroes: Zabrina Deng’s Chinatown Portrait Mission\u003c/em>\u003c/a> by \u003ca href=\"https://www.instagram.com/zabrinaxyz/\" target=\"_blank\" rel=\"noopener\">Zabrina Deng\u003c/a>, and \u003ca href=\"https://vimeo.com/1068299703\" target=\"_blank\" rel=\"noopener\">\u003cem>blood vessel/ fragmented moon\u003c/em>\u003c/a> by \u003ca href=\"https://www.instagram.com/tamate.uta/\" target=\"_blank\" rel=\"noopener\">唄 Uta Tamate Weiss\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O490OURqPKM\u003c/p>\n\u003cp>Chang, who will also perform poetry that evening, selected each part of the event to pair with the central themes in her film.\u003c/p>\n\u003cp>“It’s a deepening,” Chang says of her approach to curating the evening of storytelling. “If I’m going to offer something to you, I want it to have a little space to breathe, and a little room to contemplate.”\u003c/p>\n\u003cfigure id=\"attachment_13983438\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1.jpg\" alt=\"A blurry movie scene shows two characters talking, one holding an unfurled scroll.\" width=\"2000\" height=\"1053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-1536x809.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from the film Ain’t ‘Samsāra a Bitch,’ shows two characters in a purgatory state, discussing reincarnation and the meaning of soul contracts. \u003ccite>(Courtesy Lorrie Chang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A multitalented creative, Chang was inspired by the award-winning film \u003cem>\u003ca href=\"https://www.npr.org/2023/01/11/1147854196/everything-everywhere-michelle-yeoh\">Everything Everywhere All At Once\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After enrolling in a fiction writing class, Chang penned her first script. Her work is a product of digging through her own “treasure chest” of experiences, she says, and trying to make sense of it.\u003c/p>\n\u003cp>“A film,” she reflects, “is just this thing that’s like your constant companion for years.” After taking time to grow her relationship with her mother and plan a trip to China to learn more about her father’s roots, she’s learned that in telling her own story, she can mold a broader tale.\u003c/p>\n\u003cp>“People say your first film is just you working through your own shit,” Chang says, noting that her goal is to tell stories that are universally digestible. While her movie, filmed largely in Chinatown, comes from the perspective of a Chinese-American woman, its ideas of life, death and the afterlife are bigger than race, gender or nationality.\u003c/p>\n\u003cp>“The differences that we feel with each other,” she says, in reference to the isms that separate people in society, “I want to shrink that.”\u003c/p>\n\u003cp>Her overarching goal, she says, is to zoom out from humanity. By metaphorically looking at Earth from the moon, or even further, she wants to understand our common connections.\u003c/p>\n\u003cp>“There’s something to all of it,” she says, alluding to the true meaning of life. “What is that?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The short film ‘\u003ca href=\"https://www.instagram.com/aintsamsara_shortfilm/\">Ain’t Samsāra a Bitch\u003c/a>’ premieres Wednesday, Nov. 12 at 6:30 p.m. at the Great Star Theater (636 Jackson St., San Francisco). \u003ca href=\"https://tickets.greatstartheater.org/events/greatstartheater/1899882\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The film \u003cem>\u003ca href=\"https://www.instagram.com/aintsamsara_shortfilm/\">Ain’t Samsāra a Bitch\u003c/a>\u003c/em> takes the universal questions about the meaning of life and what happens after death, and adds another layer: If given the choice, would you come back to life?\u003c/p>\n\u003cp>A deep-seated belief in reincarnation has resonated around the world throughout human existence. But having a personal choice in the matter — as opposed to the fate of the universe or the command of a higher power — speaks directly to filmmaker Lorrie Chang’s beliefs.\u003c/p>\n\u003cp>“I feel like life is a choice,” she says during a phone call. “So why would the afterlife be any different?”\u003c/p>\n\u003cfigure id=\"attachment_13983351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983351\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-scaled.jpg\" alt=\"A Chinese-American woman with dyed red hair and a hooded sweater poses for a photo. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker and poet Lorrie Chang, raised in San Francisco’s Chinatown, says having her debut film shown at the Great Star Theater is a full-circle moment. \u003ccite>(Courtesy of Lorrie Chang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As hefty a concept it may be for a short film, the 10-minute movie (which \u003ca href=\"https://tickets.greatstartheater.org/events/greatstartheater/1899882\">screens Nov. 12 at the Great Star Theater\u003c/a> in San Francisco’s Chinatown) is an excerpt from a longer script Chang hopes to produce in the near future. But even in short form, she packs a lot in.\u003c/p>\n\u003cp>By focusing in on the relationship between three generations of women, Chang uses candid conversations to highlight the heartbreak of family separation that often comes with immigration — while pushing audiences to think about their own life’s purpose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chang touches on the Buddhist beliefs of \u003ca href=\"https://www.bbc.co.uk/religion/religions/buddhism/subdivisions/pureland_1.shtml\">the Pure Land\u003c/a> and reincarnation, or \u003ca href=\"https://www.britannica.com/topic/samsara\">samsāra\u003c/a>. She also explores the concept of “soul contracts,” the idea that we’re all sent to this plane of existence to help one another. Add it all up, Chang says, and it shows how truly interconnected we are as a people.\u003c/p>\n\u003cp>During an important scene in the film, Lo Ma, played by Jennifer Chia, turns to her daughter and says, “When we meet with other souls, we decide what we’ll help each other with on the School of Earth.” Holding a soul contract written on an unfurled scroll, Lo Ma continues, “Together, we learn the infinite ways of love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With spoken dialogue in Cantonese, and English subtitles, Chang’s film also subtly provides a window into her own upbringing, from her complicated relationship with her mother to her renewed connection to San Francisco’s Chinatown community.\u003c/p>\n\u003cp>The movie, directed by painter and filmmaker \u003ca href=\"https://www.ujjayinisikha.com/\">Ujjayini Sikha,\u003c/a> stars \u003ca href=\"https://www.imdb.com/name/nm17508571/\">Natalie Nakamine\u003c/a> as Grace and Lucia Choi-Dalton (who also sits on KQED’s Board of Directors) as Chun Mei.\u003c/p>\n\u003cp>The Nov. 12 screening is part of a larger event called “Come Rest in the Middle,” a title derived from \u003cem>\u003ca href=\"https://fiveinvitations.com/\" target=\"_blank\" rel=\"noopener\">The Five Invitations: Discovering What Death Can Teach Us About Living Fully\u003c/a>\u003c/em> by Frank Ostaseski, a Buddhist teacher and founder of the Zen Hospice Project.\u003c/p>\n\u003cp>In addition to a musical performance by \u003ca href=\"https://www.instagram.com/nichampton\">Nic Hampton\u003c/a> and a bilingual (Mandarin and English) poetry recital by \u003ca href=\"https://chunyu.org/\" target=\"_blank\" rel=\"noopener\">Chun Yu\u003c/a>, the evening includes a screening of \u003ca href=\"https://www.youtube.com/watch?v=O490OURqPKM\">\u003cem>Unsung Heroes: Zabrina Deng’s Chinatown Portrait Mission\u003c/em>\u003c/a> by \u003ca href=\"https://www.instagram.com/zabrinaxyz/\" target=\"_blank\" rel=\"noopener\">Zabrina Deng\u003c/a>, and \u003ca href=\"https://vimeo.com/1068299703\" target=\"_blank\" rel=\"noopener\">\u003cem>blood vessel/ fragmented moon\u003c/em>\u003c/a> by \u003ca href=\"https://www.instagram.com/tamate.uta/\" target=\"_blank\" rel=\"noopener\">唄 Uta Tamate Weiss\u003c/a>.\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/O490OURqPKM'\n title='//www.youtube.com/embed/O490OURqPKM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Chang, who will also perform poetry that evening, selected each part of the event to pair with the central themes in her film.\u003c/p>\n\u003cp>“It’s a deepening,” Chang says of her approach to curating the evening of storytelling. “If I’m going to offer something to you, I want it to have a little space to breathe, and a little room to contemplate.”\u003c/p>\n\u003cfigure id=\"attachment_13983438\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1.jpg\" alt=\"A blurry movie scene shows two characters talking, one holding an unfurled scroll.\" width=\"2000\" height=\"1053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/0-1536x998-1-1536x809.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from the film Ain’t ‘Samsāra a Bitch,’ shows two characters in a purgatory state, discussing reincarnation and the meaning of soul contracts. \u003ccite>(Courtesy Lorrie Chang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A multitalented creative, Chang was inspired by the award-winning film \u003cem>\u003ca href=\"https://www.npr.org/2023/01/11/1147854196/everything-everywhere-michelle-yeoh\">Everything Everywhere All At Once\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After enrolling in a fiction writing class, Chang penned her first script. Her work is a product of digging through her own “treasure chest” of experiences, she says, and trying to make sense of it.\u003c/p>\n\u003cp>“A film,” she reflects, “is just this thing that’s like your constant companion for years.” After taking time to grow her relationship with her mother and plan a trip to China to learn more about her father’s roots, she’s learned that in telling her own story, she can mold a broader tale.\u003c/p>\n\u003cp>“People say your first film is just you working through your own shit,” Chang says, noting that her goal is to tell stories that are universally digestible. While her movie, filmed largely in Chinatown, comes from the perspective of a Chinese-American woman, its ideas of life, death and the afterlife are bigger than race, gender or nationality.\u003c/p>\n\u003cp>“The differences that we feel with each other,” she says, in reference to the isms that separate people in society, “I want to shrink that.”\u003c/p>\n\u003cp>Her overarching goal, she says, is to zoom out from humanity. By metaphorically looking at Earth from the moon, or even further, she wants to understand our common connections.\u003c/p>\n\u003cp>“There’s something to all of it,” she says, alluding to the true meaning of life. “What is that?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The short film ‘\u003ca href=\"https://www.instagram.com/aintsamsara_shortfilm/\">Ain’t Samsāra a Bitch\u003c/a>’ premieres Wednesday, Nov. 12 at 6:30 p.m. at the Great Star Theater (636 Jackson St., San Francisco). \u003ca href=\"https://tickets.greatstartheater.org/events/greatstartheater/1899882\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sweet-condesa-filipino-pies-thanksgiving-2025",
"title": "The Bay Area’s ‘Pinay Pie Lady’ Is Back, Just in Time for Thanksgiving",
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"content": "\u003cp>Two years ago, Melody Lorenzo, aka the Bay Area’s “\u003ca href=\"https://www.kqed.org/arts/13938798/filipino-christmas-pies-sweet-condesa-sf-pinay-pie-lady\">Pinay Pie Lady\u003c/a>,” put on what she thought was going to be her last holiday pie sale. It was the culmination of years of creative tinkering at her bakery, Sweet Condesa, which took classic \u003ca href=\"https://www.kqed.org/arts/tag/filipino-food\">Filipino\u003c/a> desserts like halo-halo, bibingka and queso de bola, and \u003ca href=\"https://sf.eater.com/2020/11/9/21557156/sweet-condesa-filipino-bakery-ube-calamansi-turon-pie-thanksgiving-oakland\">recast them into the format of an all-American pie\u003c/a>.\u003c/p>\n\u003cp>The pies were wildly popular. But at the time, Lorenzo’s lease on her commercial kitchen was set to expire in a few months, and she was, quite frankly, burned out after seven years of fighting to keep her business afloat.\u003c/p>\n\u003cp>“I was trying to take care of myself,” Lorenzo says. “Ever since the pandemic, I’d been on a hustle mode — like, I don’t shut off, basically.”\u003c/p>\n\u003cp>Lorenzo shut Sweet Condesa down officially last summer and stepped away from baking altogether for a year. Still, the desire to create never left her. She’d walk to her neighborhood farmers market, and people would recognize her as “Sweet Condesa” and tell her how much they’d enjoyed her desserts.\u003c/p>\n\u003cp>“I know I made an impact,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13983409\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Headshot-photo-by-Melissa-de-Mata.jpg\" alt=\"A Filipino woman poses for a portrait while holding a coffee mug, sitting on a wooden bench in some lush green garden setting.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Headshot-photo-by-Melissa-de-Mata.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Headshot-photo-by-Melissa-de-Mata-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Headshot-photo-by-Melissa-de-Mata-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Headshot-photo-by-Melissa-de-Mata-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Melody Lorenzo is the founder of Sweet Condesa — now rebranded as Homebaked by Sweet Condesa. The home-based cottage food business specializes in Filipino-inspired desserts. \u003ccite>(Melissa de Mata, courtesy of Homebaked by Sweet Condesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She started thinking whether there might be a way she could start her business up again, but in a smaller-scale, more sustainable way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So, just in time for Thanksgiving, Lorenzo has relaunched her business as “\u003ca href=\"https://www.homebakedbysweetcondesa.com/\">Homebaked by Sweet Condesa\u003c/a>,” a bakery that she runs out of her home kitchen in San Francisco’s Outer Sunset neighborhood. To start out, she’ll sell her Filipino baked treats, like guava bars and ube pie-chunk cookies at pop-ups held once or twice a month, mostly at \u003ca href=\"https://www.instagram.com/ballastcoffee/?hl=en\">Ballast Coffee\u003c/a>, a Filipino-owned coffee shop in West Portal.\u003c/p>\n\u003cp>And yes, of course, she will be selling Thanksgiving pies.\u003c/p>\n\u003cp>“I wanted it to be more fun again — no expectations, no sales goals,” Lorenzo says. “I just want to share my creations again with the community, not feel forced to keep going because I need to make X amount of money to afford my overhead.”\u003c/p>\n\u003cp>Because of the restrictions on \u003ca href=\"https://www.kqed.org/bayareabites/117095/a-new-law-would-legalize-selling-home-cooked-food-in-california\">cottage food businesses\u003c/a> like hers, Lorenzo is in the process of reworking many of her most popular desserts to make them shelf-stable — so, no more custard-based calamansi or halo-halo pies for now. But the limitations haven’t deterred Lorenzo from her original mission to incorporate traditional Filipino flavors into her dessert repertoire.\u003c/p>\n\u003cfigure id=\"attachment_13983412\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/sweet-condesa-pie-hero-shot.jpg\" alt=\"A spread of desserts on a festival holiday table decorated with autumn foliage. There are two pies and a cornbread-like cake topped with toasted coconut flakes.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/sweet-condesa-pie-hero-shot.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/sweet-condesa-pie-hero-shot-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/sweet-condesa-pie-hero-shot-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/sweet-condesa-pie-hero-shot-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sweet Condesa’s Thanksgiving offerings, from left to right: dulce de leche bibingka cornbread, peach mango cobbler pie, and maple pili nut pie. \u003ccite>(Aeden Nicholas Gabriel, courtesy of Homebaked by Sweet Condesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Thanksgiving, she’s reworked one of her popular pie recipes — her peach mango cobbler pie ($65 for a nine-inch pie) — and created another new pie from scratch. The former, of course, is a play on a Filipino fast-food classic: Jollibee’s signature peach mango hand pie, which was Lorenzo’s go-to when she was growing up in the Philippines. Her version features home-made peach-mango jam, a graham cracker crust and a streusel topping for extra crunch. It’s particularly delicious served warm with a scoop of vanilla ice cream on top, Lorenzo says.\u003c/p>\n\u003cp>The new pie, a maple pili nut pie ($80), is Lorenzo’s Filipino twist on pecan pie. It’s similarly caramelized and gooey, but instead of pecans, she uses pili nuts — a slender, creamy nut with a macadamia-like texture that’s indigenous to the Philippines.\u003c/p>\n\u003cp>Candied pili nuts are a popular snack on the islands. “I wanted to recreate that into a pie that has a similar flavor,” Lorenzo explains.\u003c/p>\n\u003cp>Both pies are egg-free — another concession to cottage food regulations, but also a boon for folks with egg allergies.\u003c/p>\n\u003cfigure id=\"attachment_13983410\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/pili-nut-pie-slice.jpg\" alt=\"A caramel-y brown pie, with a single slice cut out and served on a plate.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/pili-nut-pie-slice.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/pili-nut-pie-slice-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/pili-nut-pie-slice-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/pili-nut-pie-slice-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The maple pili nut pie has a similar nuttiness and caramelized quality as a pecan pie. \u003ccite>(Aeden Nicholas Gabriel, courtesy of Homebaked by Sweet Condesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13983119,arts_13978355,arts_13937608']\u003c/span>In addition to the pies, Lorenzo is also selling a third Thanksgiving dessert, a dulce de leche bibingka cornbread ($55) — which, as its name implies, is a cross between American cornbread and the traditional Filipino coconut rice cake known as bibingka.\u003c/p>\n\u003cp>All of Sweet Condesa’s Thanksgiving treats are \u003ca href=\"https://www.hotplate.com/homebakedbysweetcondesa\">available for online preorder\u003c/a> starting at 2 p.m. on Tuesday, Nov. 4. And since Lorenzo is just baking out of her home kitchen now, supplies will be even more limited than in the past: She expects she’ll only be able to bake a total of 40 or 50 pies this year. But if all goes well, she might be able to increase her output for Christmas pie season, by which time she hopes to have found a way to rework that calamansi pie.\u003c/p>\n\u003cp>“I’m just trying to make it work so I can offer [my pies] again,” she says. “The people who found out are just super excited.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>\u003ca href=\"https://www.homebakedbysweetcondesa.com/\">Homebaked by Sweet Condesa’s\u003c/a> Thanksgiving desserts are available for \u003c/i>\u003ca href=\"https://www.hotplate.com/homebakedbysweetcondesa\">\u003ci>online pre-order\u003c/i>\u003c/a>\u003ci>, starting at 2 p.m. on November 4. Pickup options are on Wednesday, Nov. 26, 10 a.m.–noon at Ballast Coffee (329 W. Portal Ave., San Francisco), and 3–5 p.m. at Mestiza (214 Townsend St., San Francisco). Supplies are very limited.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Sweet Condesa’s next Ballast Coffee pop-ups will be Nov. 15 and Nov. 22, 11 a.m.–1 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two years ago, Melody Lorenzo, aka the Bay Area’s “\u003ca href=\"https://www.kqed.org/arts/13938798/filipino-christmas-pies-sweet-condesa-sf-pinay-pie-lady\">Pinay Pie Lady\u003c/a>,” put on what she thought was going to be her last holiday pie sale. It was the culmination of years of creative tinkering at her bakery, Sweet Condesa, which took classic \u003ca href=\"https://www.kqed.org/arts/tag/filipino-food\">Filipino\u003c/a> desserts like halo-halo, bibingka and queso de bola, and \u003ca href=\"https://sf.eater.com/2020/11/9/21557156/sweet-condesa-filipino-bakery-ube-calamansi-turon-pie-thanksgiving-oakland\">recast them into the format of an all-American pie\u003c/a>.\u003c/p>\n\u003cp>The pies were wildly popular. But at the time, Lorenzo’s lease on her commercial kitchen was set to expire in a few months, and she was, quite frankly, burned out after seven years of fighting to keep her business afloat.\u003c/p>\n\u003cp>“I was trying to take care of myself,” Lorenzo says. “Ever since the pandemic, I’d been on a hustle mode — like, I don’t shut off, basically.”\u003c/p>\n\u003cp>Lorenzo shut Sweet Condesa down officially last summer and stepped away from baking altogether for a year. Still, the desire to create never left her. She’d walk to her neighborhood farmers market, and people would recognize her as “Sweet Condesa” and tell her how much they’d enjoyed her desserts.\u003c/p>\n\u003cp>“I know I made an impact,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13983409\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Headshot-photo-by-Melissa-de-Mata.jpg\" alt=\"A Filipino woman poses for a portrait while holding a coffee mug, sitting on a wooden bench in some lush green garden setting.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Headshot-photo-by-Melissa-de-Mata.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Headshot-photo-by-Melissa-de-Mata-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Headshot-photo-by-Melissa-de-Mata-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Headshot-photo-by-Melissa-de-Mata-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Melody Lorenzo is the founder of Sweet Condesa — now rebranded as Homebaked by Sweet Condesa. The home-based cottage food business specializes in Filipino-inspired desserts. \u003ccite>(Melissa de Mata, courtesy of Homebaked by Sweet Condesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She started thinking whether there might be a way she could start her business up again, but in a smaller-scale, more sustainable way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, just in time for Thanksgiving, Lorenzo has relaunched her business as “\u003ca href=\"https://www.homebakedbysweetcondesa.com/\">Homebaked by Sweet Condesa\u003c/a>,” a bakery that she runs out of her home kitchen in San Francisco’s Outer Sunset neighborhood. To start out, she’ll sell her Filipino baked treats, like guava bars and ube pie-chunk cookies at pop-ups held once or twice a month, mostly at \u003ca href=\"https://www.instagram.com/ballastcoffee/?hl=en\">Ballast Coffee\u003c/a>, a Filipino-owned coffee shop in West Portal.\u003c/p>\n\u003cp>And yes, of course, she will be selling Thanksgiving pies.\u003c/p>\n\u003cp>“I wanted it to be more fun again — no expectations, no sales goals,” Lorenzo says. “I just want to share my creations again with the community, not feel forced to keep going because I need to make X amount of money to afford my overhead.”\u003c/p>\n\u003cp>Because of the restrictions on \u003ca href=\"https://www.kqed.org/bayareabites/117095/a-new-law-would-legalize-selling-home-cooked-food-in-california\">cottage food businesses\u003c/a> like hers, Lorenzo is in the process of reworking many of her most popular desserts to make them shelf-stable — so, no more custard-based calamansi or halo-halo pies for now. But the limitations haven’t deterred Lorenzo from her original mission to incorporate traditional Filipino flavors into her dessert repertoire.\u003c/p>\n\u003cfigure id=\"attachment_13983412\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/sweet-condesa-pie-hero-shot.jpg\" alt=\"A spread of desserts on a festival holiday table decorated with autumn foliage. There are two pies and a cornbread-like cake topped with toasted coconut flakes.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/sweet-condesa-pie-hero-shot.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/sweet-condesa-pie-hero-shot-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/sweet-condesa-pie-hero-shot-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/sweet-condesa-pie-hero-shot-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sweet Condesa’s Thanksgiving offerings, from left to right: dulce de leche bibingka cornbread, peach mango cobbler pie, and maple pili nut pie. \u003ccite>(Aeden Nicholas Gabriel, courtesy of Homebaked by Sweet Condesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Thanksgiving, she’s reworked one of her popular pie recipes — her peach mango cobbler pie ($65 for a nine-inch pie) — and created another new pie from scratch. The former, of course, is a play on a Filipino fast-food classic: Jollibee’s signature peach mango hand pie, which was Lorenzo’s go-to when she was growing up in the Philippines. Her version features home-made peach-mango jam, a graham cracker crust and a streusel topping for extra crunch. It’s particularly delicious served warm with a scoop of vanilla ice cream on top, Lorenzo says.\u003c/p>\n\u003cp>The new pie, a maple pili nut pie ($80), is Lorenzo’s Filipino twist on pecan pie. It’s similarly caramelized and gooey, but instead of pecans, she uses pili nuts — a slender, creamy nut with a macadamia-like texture that’s indigenous to the Philippines.\u003c/p>\n\u003cp>Candied pili nuts are a popular snack on the islands. “I wanted to recreate that into a pie that has a similar flavor,” Lorenzo explains.\u003c/p>\n\u003cp>Both pies are egg-free — another concession to cottage food regulations, but also a boon for folks with egg allergies.\u003c/p>\n\u003cfigure id=\"attachment_13983410\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/pili-nut-pie-slice.jpg\" alt=\"A caramel-y brown pie, with a single slice cut out and served on a plate.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/pili-nut-pie-slice.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/pili-nut-pie-slice-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/pili-nut-pie-slice-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/pili-nut-pie-slice-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The maple pili nut pie has a similar nuttiness and caramelized quality as a pecan pie. \u003ccite>(Aeden Nicholas Gabriel, courtesy of Homebaked by Sweet Condesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>In addition to the pies, Lorenzo is also selling a third Thanksgiving dessert, a dulce de leche bibingka cornbread ($55) — which, as its name implies, is a cross between American cornbread and the traditional Filipino coconut rice cake known as bibingka.\u003c/p>\n\u003cp>All of Sweet Condesa’s Thanksgiving treats are \u003ca href=\"https://www.hotplate.com/homebakedbysweetcondesa\">available for online preorder\u003c/a> starting at 2 p.m. on Tuesday, Nov. 4. And since Lorenzo is just baking out of her home kitchen now, supplies will be even more limited than in the past: She expects she’ll only be able to bake a total of 40 or 50 pies this year. But if all goes well, she might be able to increase her output for Christmas pie season, by which time she hopes to have found a way to rework that calamansi pie.\u003c/p>\n\u003cp>“I’m just trying to make it work so I can offer [my pies] again,” she says. “The people who found out are just super excited.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>\u003ca href=\"https://www.homebakedbysweetcondesa.com/\">Homebaked by Sweet Condesa’s\u003c/a> Thanksgiving desserts are available for \u003c/i>\u003ca href=\"https://www.hotplate.com/homebakedbysweetcondesa\">\u003ci>online pre-order\u003c/i>\u003c/a>\u003ci>, starting at 2 p.m. on November 4. Pickup options are on Wednesday, Nov. 26, 10 a.m.–noon at Ballast Coffee (329 W. Portal Ave., San Francisco), and 3–5 p.m. at Mestiza (214 Townsend St., San Francisco). Supplies are very limited.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Sweet Condesa’s next Ballast Coffee pop-ups will be Nov. 15 and Nov. 22, 11 a.m.–1 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Castro Theatre Shows for 2026 Announced: Lucy Dacus, Santigold, Perfume Genius, More",
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"content": "\u003cp>The operators of the Castro Theatre have announced the concerts that will take place after the venue’s reopening next year. Artists booked to play the Castro in 2026 include Lucy Dacus, Perfume Genius, Santigold, the Breeders, Father John Misty, the Format and others.\u003c/p>\n\u003cp>The slate of shows follows a sold-out, 20-date residency by singer Sam Smith, running Feb. 10–March 14 at the Castro.\u003c/p>\n\u003cp>The Castro Theatre, which had shown primarily film for over a century as one of the region’s last remaining movie palaces, has undergone renovation and remodeling by its new operators Another Planet Entertainment. Controversially, the Bay Area-based live music promotion company replaced the Castro’s theater-style raked floor and seating with flat tiers, outfitted with sliding rows, to accommodate a multi-use format.\u003c/p>\n\u003cp>[aside postID='arts_13981911']Along with the announced schedule of live music, drag, comedy, game shows and community events, Another Planet promises “film screenings and more to be announced soon.” The Frameline Film Festival is scheduled to run June 17–27 at the Castro. \u003c/p>\n\u003cp>A schedule of shows at the Castro Theatre is below. Presale tickets to many of the shows go on sale Thursday, Nov. 6, using the presale code \u003cstrong>hotcookie\u003c/strong>, a reference to one of the locally owned businesses on the street. (Two others are reportedly in the process of being \u003ca href=\"https://abc7news.com/post/legacy-san-francisco-castro-small-businesses-asked-leave-make-room-another-planet-entertainment/16911703/\">evicted to make room for Another Planet\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tickets to all shows go on sale to the general public Friday, Nov. 7. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>March 18: Amber Mark\u003cbr>\nMarch 20: Alaska\u003cbr>\nMarch 21: 49th & Main\u003cbr>\nMarch 24: Father John Misty\u003cbr>\nMarch 25: Father John Misty\u003cbr>\nMarch 26: Perfume Genius\u003cbr>\nMarch 28: Tycho\u003cbr>\nMarch 31: Nick Lowe\u003cbr>\nApril 8: Gayme Show with Matt Rogers and Dave Mizzoni\u003cbr>\nApril 11: Alyssa Edwards\u003cbr>\nApril 14: On Cinema Live! with Tim Heidecker and Gregg Turkington\u003cbr>\nApril 16: The Format\u003cbr>\nApril 17: The Format\u003cbr>\nApril 18: Vandelux\u003cbr>\nApril 19: CMAT\u003cbr>\nApril 25: Alice Phoebe Lou\u003cbr>\nApril 26: Jessica Kirson\u003cbr>\nApril 28: MARO\u003cbr>\nApril 30: Jonathan Van Ness\u003cbr>\nMay 3: José González\u003cbr>\nMay 16: Santigold\u003cbr>\nMay 18: Lucy Dacus\u003cbr>\nMay 19: Lucy Dacus\u003cbr>\nAug. 22: The Breeders\u003c/p>\n\n",
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"excerpt": "Jonathan Van Ness, the Breeders, Father John Misty and more are headed to the remodeled Castro Theatre.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The operators of the Castro Theatre have announced the concerts that will take place after the venue’s reopening next year. Artists booked to play the Castro in 2026 include Lucy Dacus, Perfume Genius, Santigold, the Breeders, Father John Misty, the Format and others.\u003c/p>\n\u003cp>The slate of shows follows a sold-out, 20-date residency by singer Sam Smith, running Feb. 10–March 14 at the Castro.\u003c/p>\n\u003cp>The Castro Theatre, which had shown primarily film for over a century as one of the region’s last remaining movie palaces, has undergone renovation and remodeling by its new operators Another Planet Entertainment. Controversially, the Bay Area-based live music promotion company replaced the Castro’s theater-style raked floor and seating with flat tiers, outfitted with sliding rows, to accommodate a multi-use format.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Along with the announced schedule of live music, drag, comedy, game shows and community events, Another Planet promises “film screenings and more to be announced soon.” The Frameline Film Festival is scheduled to run June 17–27 at the Castro. \u003c/p>\n\u003cp>A schedule of shows at the Castro Theatre is below. Presale tickets to many of the shows go on sale Thursday, Nov. 6, using the presale code \u003cstrong>hotcookie\u003c/strong>, a reference to one of the locally owned businesses on the street. (Two others are reportedly in the process of being \u003ca href=\"https://abc7news.com/post/legacy-san-francisco-castro-small-businesses-asked-leave-make-room-another-planet-entertainment/16911703/\">evicted to make room for Another Planet\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tickets to all shows go on sale to the general public Friday, Nov. 7. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>March 18: Amber Mark\u003cbr>\nMarch 20: Alaska\u003cbr>\nMarch 21: 49th & Main\u003cbr>\nMarch 24: Father John Misty\u003cbr>\nMarch 25: Father John Misty\u003cbr>\nMarch 26: Perfume Genius\u003cbr>\nMarch 28: Tycho\u003cbr>\nMarch 31: Nick Lowe\u003cbr>\nApril 8: Gayme Show with Matt Rogers and Dave Mizzoni\u003cbr>\nApril 11: Alyssa Edwards\u003cbr>\nApril 14: On Cinema Live! with Tim Heidecker and Gregg Turkington\u003cbr>\nApril 16: The Format\u003cbr>\nApril 17: The Format\u003cbr>\nApril 18: Vandelux\u003cbr>\nApril 19: CMAT\u003cbr>\nApril 25: Alice Phoebe Lou\u003cbr>\nApril 26: Jessica Kirson\u003cbr>\nApril 28: MARO\u003cbr>\nApril 30: Jonathan Van Ness\u003cbr>\nMay 3: José González\u003cbr>\nMay 16: Santigold\u003cbr>\nMay 18: Lucy Dacus\u003cbr>\nMay 19: Lucy Dacus\u003cbr>\nAug. 22: The Breeders\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Legendary Sacramento Rapper Marvaless Still Has Bars",
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"content": "\u003cp>In \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a>, there’s a polarizing debate between rappers who do live performances over raw instrumentals and those who rap over tracks that include their prerecorded vocals.\u003c/p>\n\u003cp>The subtext to the argument is whether or not an artist has the talent to rock a whole live show without the support of those prerecorded bars.\u003c/p>\n\u003cp>Deeper than that is the understanding that “true lyricism” is always relevant. Trends come and go. Music, especially hip-hop, is ever changing. But the ability to move a crowd by clearly and cleverly delivering dope lyrics over a saucy beat? That’s eternal.\u003c/p>\n\u003cp>So when legendary Sacramento rapper \u003ca href=\"https://www.instagram.com/therealmarvaless/?hl=en\">Marvaless\u003c/a> was asked what people should expect during her performance this Saturday at an event titled “\u003ca href=\"https://www.eventbrite.com/e/sellassie-presents-real-emcees-dont-rap-over-their-lyrics-tickets-1755407052749?aff=oddtdtcreator\">Real Emcees Don’t Rap Over Their Lyrics\u003c/a>” at Bissap Baobab in San Francisco, her response was straightforward:\u003c/p>\n\u003cp>“They should expect bars, you know what I’m saying?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WxOSjdPonr4\u003c/p>\n\u003cp>During a phone call, the rapper — who dropped her classic debut album \u003ca href=\"https://www.youtube.com/playlist?list=PLn7qZ70jqTZGKYyiBpVkHiCp8HGwkPNvp\">\u003cem>Ghetto Blues\u003c/em>\u003c/a> in 1994 and has worked with the likes of Tupac, Mac Dre and The Jacka — explains that the debate about performing over raw instrumentals or a recording isn’t always about talent. Sometimes it’s about accessibility.\u003c/p>\n\u003cp>“I actually had to go back,” she says, explaining that she doesn’t have the original instrumentals of some of her more well-known songs. “I had to go and get that engineer, and take them words out of there.” After removing the vocals from her songs and leaving only the instrumentation, she now plans on delivering a performance this weekend that’s “straight from the gut.”\u003c/p>\n\u003cp>“You’re gonna get 52 year-old Marv, still barred up.”\u003c/p>\n\u003cfigure id=\"attachment_13982881\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-scaled.jpg\" alt=\"A woman in red poses for a photo.\" width=\"1276\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-scaled.jpg 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-160x321.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-768x1540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-766x1536.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-1021x2048.jpg 1021w\" sizes=\"auto, (max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Marvaless, an acclaimed lyricist, author and mother, says her daughter keeps her in touch with the latest wave of talent coming out of Northern California. \u003ccite>(Courtesy of Marvaless)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event, which also features performances by \u003ca href=\"https://www.instagram.com/gennessee1/?hl=en\">Gennessee Lewis,\u003c/a> \u003ca href=\"https://www.instagram.com/versoulmusic/?hl=en\">Versoul\u003c/a> and \u003ca href=\"https://www.instagram.com/peplava/?hl=en\">Hieroglyphics’ Pep Love\u003c/a>, is presented by \u003ca href=\"https://www.instagram.com/iamsellassie/\">Sellassie Blackwell\u003c/a>, the hip-hop artist and activist who was part of \u003ca href=\"https://www.kqed.org/arts/11571883/the-frisco-five-protest-moves-bay-area-artists-to-action\">The Frisco Five\u003c/a> hunger strike.\u003c/p>\n\u003cp>Heading into this weekend’s show, Marvaless is in the midst of a resurgence of sorts. Earlier this year, while in conversation with \u003ca href=\"https://www.youtube.com/watch?v=wjufpEuQ31Y\">Dregs One on the History of The Bay podcast\u003c/a>, the veteran MC shed light on how she entered the rap game by way of\u003ca href=\"https://www.instagram.com/cbomobfather/?hl=en\"> C-Bo’s\u003c/a> guidance, spent time in the studio working with Mac Dre, and has a longstanding deep appreciation for Messy Marv, who she dropped a project with in 2003 called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=hG_3QJUhPUc\">Bonnie & Clyde\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>She also shared a moving story about the letter she penned to a then-incarcerated Tupac Shakur, which led to them recording the track “\u003ca href=\"https://www.youtube.com/watch?v=IzjkPXzuXQE\">Never Be Peace\u003c/a>.” She ended the interview by noting there’s more music to come.\u003c/p>\n\u003cp>This year she’s done a number of shows and has been featured on a handful of singles, including X-Raided’s “\u003ca href=\"https://www.youtube.com/watch?v=N7rDc7riyu4\">What’s My Name\u003c/a>” and a track with DZ and C-Bo titled “\u003ca href=\"https://www.youtube.com/watch?v=niOzwQvdBhM\">Same Thang\u003c/a>.”\u003c/p>\n\u003cp>Founder of \u003ca href=\"https://www.instagram.com/themarvalessfoundation/?hl=am-et\">The Marvaless Foundation\u003c/a> nonprofit and author of the book \u003ca href=\"https://www.amazon.com/Quotes-Queen-Book-Marva-Jean-ebook/dp/B076DTTX27\">\u003cem>Quotes From the Queen\u003c/em>,\u003c/a> Marvaless is currently finishing up a new solo album called \u003cem>Queen Caliphia\u003c/em> and a duo album called \u003cem>Like Mother, Like Daughter\u003c/em> with her child, \u003ca href=\"https://music.apple.com/us/album/daughter-of-a-legend/1422924567\">Lil Marvaless\u003c/a>.\u003c/p>\n\u003cp>Crediting her daughter for keeping her ear tuned into the latest movements in the region, Marvaless says she’s proud of the current Northern Californian hip-hop scene.\u003c/p>\n\u003cp>“It’s dope that it’s still going,” she says. “And a lot of the pioneers from back then are still rocking and going strong, I love that aspect of it.”\u003c/p>\n\u003cp>Even as time passes and music changes, Marvaless says she has nothing but love for the the younger artists who are coming out and representing for our area.\u003c/p>\n\u003cp>And, at the same time, it’s clear that the fire inside the former battle rapper hasn’t faded. “I’m glad that I’m still here,” she says, “I’m still rocking stages, and I’m still barred up.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Saturday, Oct. 25, the \u003ca href=\"https://www.eventbrite.com/e/sellassie-presents-real-emcees-dont-rap-over-their-lyrics-tickets-1755407052749?aff=oddtdtcreator\">Real Emcees Don’t Rap Over Their Lyrics event\u003c/a> goes from 8 p.m. until midnight at Bissap Baobab (2243 Mission St., San Francisco, CA).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a>, there’s a polarizing debate between rappers who do live performances over raw instrumentals and those who rap over tracks that include their prerecorded vocals.\u003c/p>\n\u003cp>The subtext to the argument is whether or not an artist has the talent to rock a whole live show without the support of those prerecorded bars.\u003c/p>\n\u003cp>Deeper than that is the understanding that “true lyricism” is always relevant. Trends come and go. Music, especially hip-hop, is ever changing. But the ability to move a crowd by clearly and cleverly delivering dope lyrics over a saucy beat? That’s eternal.\u003c/p>\n\u003cp>So when legendary Sacramento rapper \u003ca href=\"https://www.instagram.com/therealmarvaless/?hl=en\">Marvaless\u003c/a> was asked what people should expect during her performance this Saturday at an event titled “\u003ca href=\"https://www.eventbrite.com/e/sellassie-presents-real-emcees-dont-rap-over-their-lyrics-tickets-1755407052749?aff=oddtdtcreator\">Real Emcees Don’t Rap Over Their Lyrics\u003c/a>” at Bissap Baobab in San Francisco, her response was straightforward:\u003c/p>\n\u003cp>“They should expect bars, you know what I’m saying?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/WxOSjdPonr4'\n title='//www.youtube.com/embed/WxOSjdPonr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During a phone call, the rapper — who dropped her classic debut album \u003ca href=\"https://www.youtube.com/playlist?list=PLn7qZ70jqTZGKYyiBpVkHiCp8HGwkPNvp\">\u003cem>Ghetto Blues\u003c/em>\u003c/a> in 1994 and has worked with the likes of Tupac, Mac Dre and The Jacka — explains that the debate about performing over raw instrumentals or a recording isn’t always about talent. Sometimes it’s about accessibility.\u003c/p>\n\u003cp>“I actually had to go back,” she says, explaining that she doesn’t have the original instrumentals of some of her more well-known songs. “I had to go and get that engineer, and take them words out of there.” After removing the vocals from her songs and leaving only the instrumentation, she now plans on delivering a performance this weekend that’s “straight from the gut.”\u003c/p>\n\u003cp>“You’re gonna get 52 year-old Marv, still barred up.”\u003c/p>\n\u003cfigure id=\"attachment_13982881\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-scaled.jpg\" alt=\"A woman in red poses for a photo.\" width=\"1276\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-scaled.jpg 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-160x321.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-768x1540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-766x1536.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-1021x2048.jpg 1021w\" sizes=\"auto, (max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Marvaless, an acclaimed lyricist, author and mother, says her daughter keeps her in touch with the latest wave of talent coming out of Northern California. \u003ccite>(Courtesy of Marvaless)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event, which also features performances by \u003ca href=\"https://www.instagram.com/gennessee1/?hl=en\">Gennessee Lewis,\u003c/a> \u003ca href=\"https://www.instagram.com/versoulmusic/?hl=en\">Versoul\u003c/a> and \u003ca href=\"https://www.instagram.com/peplava/?hl=en\">Hieroglyphics’ Pep Love\u003c/a>, is presented by \u003ca href=\"https://www.instagram.com/iamsellassie/\">Sellassie Blackwell\u003c/a>, the hip-hop artist and activist who was part of \u003ca href=\"https://www.kqed.org/arts/11571883/the-frisco-five-protest-moves-bay-area-artists-to-action\">The Frisco Five\u003c/a> hunger strike.\u003c/p>\n\u003cp>Heading into this weekend’s show, Marvaless is in the midst of a resurgence of sorts. Earlier this year, while in conversation with \u003ca href=\"https://www.youtube.com/watch?v=wjufpEuQ31Y\">Dregs One on the History of The Bay podcast\u003c/a>, the veteran MC shed light on how she entered the rap game by way of\u003ca href=\"https://www.instagram.com/cbomobfather/?hl=en\"> C-Bo’s\u003c/a> guidance, spent time in the studio working with Mac Dre, and has a longstanding deep appreciation for Messy Marv, who she dropped a project with in 2003 called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=hG_3QJUhPUc\">Bonnie & Clyde\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>She also shared a moving story about the letter she penned to a then-incarcerated Tupac Shakur, which led to them recording the track “\u003ca href=\"https://www.youtube.com/watch?v=IzjkPXzuXQE\">Never Be Peace\u003c/a>.” She ended the interview by noting there’s more music to come.\u003c/p>\n\u003cp>This year she’s done a number of shows and has been featured on a handful of singles, including X-Raided’s “\u003ca href=\"https://www.youtube.com/watch?v=N7rDc7riyu4\">What’s My Name\u003c/a>” and a track with DZ and C-Bo titled “\u003ca href=\"https://www.youtube.com/watch?v=niOzwQvdBhM\">Same Thang\u003c/a>.”\u003c/p>\n\u003cp>Founder of \u003ca href=\"https://www.instagram.com/themarvalessfoundation/?hl=am-et\">The Marvaless Foundation\u003c/a> nonprofit and author of the book \u003ca href=\"https://www.amazon.com/Quotes-Queen-Book-Marva-Jean-ebook/dp/B076DTTX27\">\u003cem>Quotes From the Queen\u003c/em>,\u003c/a> Marvaless is currently finishing up a new solo album called \u003cem>Queen Caliphia\u003c/em> and a duo album called \u003cem>Like Mother, Like Daughter\u003c/em> with her child, \u003ca href=\"https://music.apple.com/us/album/daughter-of-a-legend/1422924567\">Lil Marvaless\u003c/a>.\u003c/p>\n\u003cp>Crediting her daughter for keeping her ear tuned into the latest movements in the region, Marvaless says she’s proud of the current Northern Californian hip-hop scene.\u003c/p>\n\u003cp>“It’s dope that it’s still going,” she says. “And a lot of the pioneers from back then are still rocking and going strong, I love that aspect of it.”\u003c/p>\n\u003cp>Even as time passes and music changes, Marvaless says she has nothing but love for the the younger artists who are coming out and representing for our area.\u003c/p>\n\u003cp>And, at the same time, it’s clear that the fire inside the former battle rapper hasn’t faded. “I’m glad that I’m still here,” she says, “I’m still rocking stages, and I’m still barred up.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Saturday, Oct. 25, the \u003ca href=\"https://www.eventbrite.com/e/sellassie-presents-real-emcees-dont-rap-over-their-lyrics-tickets-1755407052749?aff=oddtdtcreator\">Real Emcees Don’t Rap Over Their Lyrics event\u003c/a> goes from 8 p.m. until midnight at Bissap Baobab (2243 Mission St., San Francisco, CA).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "spiritual-cramp-rude-san-francisco-punk-band",
"title": "Poised to Blow Up, Spiritual Cramp Is Bringing San Francisco Along for the Ride",
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"headTitle": "Poised to Blow Up, Spiritual Cramp Is Bringing San Francisco Along for the Ride | KQED",
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"content": "\u003cp>If you watch one music video from a San Francisco band this year, make it Spiritual Cramp’s “\u003ca href=\"https://youtu.be/vd3FHvPtsRU?si=4_7yIt1tVbC74dgt\">At My Funeral\u003c/a>.” It begins with gold-toothed singer Michael Bingham strutting through Clarion Alley toting a block rocker boombox. He then hauls it along to dance his ass off with punk panache to frenetic riffs and sinister drums in front of the Painted Ladies, the Ocean Beach seawall, Bernal Hill, a wedding on the City Hall steps, Kilowatt, Green Apple Books and the Brian Wilson plaque at Oracle Park. \u003c/p>\n\u003cp>While the lyrics are self-deprecating (“At my funeral, nobody came / They all had plans, couldn’t remember my name”) the video resoundingly celebrates the city where the band was formed. San Francisco’s culture and soul are embedded in Bingham’s heart and exalted throughout the band’s new album, \u003cem>Rude\u003c/em>. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vd3FHvPtsRU\u003c/p>\n\u003cp>But the thing is, Bingham has been living in Los Angeles since 2021, when his wife, who is a hairstylist, followed a big career opportunity. (“She’s hitting grand slams,” he says.) And while the move has also been a boon for the band, Bingham still grapples with impostor syndrome. “What if I went back home to the Bay where I belong?” he sings on “True Love (Is Hard To Find),” the key question to the album. \u003c/p>\n\u003cp>“That question plays in my head every day,” Bingham says on a Zoom call from his Los Angeles apartment. “Eventually I want to make my way back to Frisco, but everything’s going so good it’s infuriating. I have all these problems and they’re problems I begged to God for.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now on their second album (out Oct. 24), Spiritual Cramp have a lot of elements in place for a proper blow up. \u003cem>Rude\u003c/em> is produced by John Congleton, noted for his guiding hand on breakout records from the likes of St. Vincent, Thao & The Get Down Stay Down and Sharon Van Etten. The album is mixed by Paramore producer Carlos de La Garza, features a duet with Van Etten (“You’ve Got My Number”) and comes out on the Blue Grape Music label, founded by alums of trailblazing hard rock label Roadrunner Records. \u003c/p>\n\u003cp>Spiritual Cramp recently \u003ca href=\"https://www.altpress.com/spiritual-cramp-rude-interview/\">graced the cover\u003c/a> of Alternative Press magazine (who’ll be presenting the band’s U.S. tour in early 2026), and are co-managed by San Francisco’s Brilliant Corners, which also has Death Cab For Cutie and Toro y Moi on its roster. A few weeks after the album drops, the band is headed to Europe for a tour with decorated Swedish punk band The Hives. \u003c/p>\n\u003cp>It’s an impressive laundry list of accomplishments, especially for a band from San Francisco. \u003cem>Rude\u003c/em> is forged on elated new wave punk, with hardcore and dancehall brushstrokes — somewhere between The Clash and Turnstile. The album plays like a ride or die homage to SF and leaves no question what scene Bingham and company represent. “Just another warm San Francisco night, where every day is the best day of my life,” Bingham sings on “Young Offenders.”\u003c/p>\n\u003cfigure id=\"attachment_13982836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg\" alt=\"Mayor Daniel Lurie on cell phone looks at six-member band on steps\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13982836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp got a surprise visitor at their photoshoot on the steps of San Francisco’s City Hall. \u003ccite>(Sarah Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often heard more frequently in hip-hop circles, the term “loyal to the soil” comes to mind when talking to Bingham. His allegiance isn’t much different from Pinole rapper \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a>, who also calls LA home, but reps Bay Area culture everywhere he goes, Warriors games and concert appearances alike. \u003c/p>\n\u003cp>“I’d love to say that it hasn’t improved the business of the band,” Bingham says. “But it’s not true. Living in LA is good for business.” \u003c/p>\n\u003cp>The members of Spiritual Cramp met in and around the San Francisco punk scene in 2017, yet the six-piece is now fully spread out geographically. Drummer Julian Smith and guitarist Orville Neeley also live in Los Angeles, guitarist Nate Punty is in the Mission, bassist Nate Fenton is in Mendocino County, and percussionist Jose Luna lives in New York. Welcome to being in a band in 2025. \u003c/p>\n\u003cp>Sessions with Congleton happened at the producer’s studio in LA. Bingham had acted as the band’s producer until this point, but he credits Congleton’s “any idea is worth exploring” approach. “He challenged me in every way and forced me to stand by my decisions,” Bingham says.\u003c/p>\n\u003cp>Bingham and Van Etten forged a friendship in LA over the years that led to her appearance on “You’ve Got My Number,” a pop-polished waxing on constantly being on the road and incessantly missing someone. Rhythmically, it’s a dynamic foil to “Violence In The Supermarket,” which calls to mind The Specials’ ska-dub classic “Ghost Town” and rings in disgust at yuppies on a shopping run complaining about minutiae — one of the album’s many not-so-subtle jabs at certain LA denizens. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mVBpaXiH1RY\u003c/p>\n\u003cp>There’s a palpable push-pull on \u003cem>Rude\u003c/em>; San Francisco tugs at Bingham’s heartstrings even as he and the band experience growth (amid his own discomfort) in LA. Sometimes, he gets the best of both worlds. He describes being in his element on sunny walks through the Mission from his friend’s apartment above Kilowatt to Different Fur Studios for \u003cem>Rude\u003c/em>’s pre-production sessions. Then back in LA, he bumped into Tim Armstrong at an LA coffee shop, where the Rancid frontman commended Spiritual Cramp’s recent success. \u003c/p>\n\u003cp>The balance of it all never escapes him. Still, it’s clear to Bingham which city is truly fueling the band’s ascent. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we started the band, everyone lived here and we came together in the punk scene in the most SF way,” Bingham says. “We practiced at Polk and Bush, our first show was at the Hemlock. I want to project images of that place that’s still in my heart.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you watch one music video from a San Francisco band this year, make it Spiritual Cramp’s “\u003ca href=\"https://youtu.be/vd3FHvPtsRU?si=4_7yIt1tVbC74dgt\">At My Funeral\u003c/a>.” It begins with gold-toothed singer Michael Bingham strutting through Clarion Alley toting a block rocker boombox. He then hauls it along to dance his ass off with punk panache to frenetic riffs and sinister drums in front of the Painted Ladies, the Ocean Beach seawall, Bernal Hill, a wedding on the City Hall steps, Kilowatt, Green Apple Books and the Brian Wilson plaque at Oracle Park. \u003c/p>\n\u003cp>While the lyrics are self-deprecating (“At my funeral, nobody came / They all had plans, couldn’t remember my name”) the video resoundingly celebrates the city where the band was formed. San Francisco’s culture and soul are embedded in Bingham’s heart and exalted throughout the band’s new album, \u003cem>Rude\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/vd3FHvPtsRU'\n title='//www.youtube.com/embed/vd3FHvPtsRU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the thing is, Bingham has been living in Los Angeles since 2021, when his wife, who is a hairstylist, followed a big career opportunity. (“She’s hitting grand slams,” he says.) And while the move has also been a boon for the band, Bingham still grapples with impostor syndrome. “What if I went back home to the Bay where I belong?” he sings on “True Love (Is Hard To Find),” the key question to the album. \u003c/p>\n\u003cp>“That question plays in my head every day,” Bingham says on a Zoom call from his Los Angeles apartment. “Eventually I want to make my way back to Frisco, but everything’s going so good it’s infuriating. I have all these problems and they’re problems I begged to God for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now on their second album (out Oct. 24), Spiritual Cramp have a lot of elements in place for a proper blow up. \u003cem>Rude\u003c/em> is produced by John Congleton, noted for his guiding hand on breakout records from the likes of St. Vincent, Thao & The Get Down Stay Down and Sharon Van Etten. The album is mixed by Paramore producer Carlos de La Garza, features a duet with Van Etten (“You’ve Got My Number”) and comes out on the Blue Grape Music label, founded by alums of trailblazing hard rock label Roadrunner Records. \u003c/p>\n\u003cp>Spiritual Cramp recently \u003ca href=\"https://www.altpress.com/spiritual-cramp-rude-interview/\">graced the cover\u003c/a> of Alternative Press magazine (who’ll be presenting the band’s U.S. tour in early 2026), and are co-managed by San Francisco’s Brilliant Corners, which also has Death Cab For Cutie and Toro y Moi on its roster. A few weeks after the album drops, the band is headed to Europe for a tour with decorated Swedish punk band The Hives. \u003c/p>\n\u003cp>It’s an impressive laundry list of accomplishments, especially for a band from San Francisco. \u003cem>Rude\u003c/em> is forged on elated new wave punk, with hardcore and dancehall brushstrokes — somewhere between The Clash and Turnstile. The album plays like a ride or die homage to SF and leaves no question what scene Bingham and company represent. “Just another warm San Francisco night, where every day is the best day of my life,” Bingham sings on “Young Offenders.”\u003c/p>\n\u003cfigure id=\"attachment_13982836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg\" alt=\"Mayor Daniel Lurie on cell phone looks at six-member band on steps\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13982836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp got a surprise visitor at their photoshoot on the steps of San Francisco’s City Hall. \u003ccite>(Sarah Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often heard more frequently in hip-hop circles, the term “loyal to the soil” comes to mind when talking to Bingham. His allegiance isn’t much different from Pinole rapper \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a>, who also calls LA home, but reps Bay Area culture everywhere he goes, Warriors games and concert appearances alike. \u003c/p>\n\u003cp>“I’d love to say that it hasn’t improved the business of the band,” Bingham says. “But it’s not true. Living in LA is good for business.” \u003c/p>\n\u003cp>The members of Spiritual Cramp met in and around the San Francisco punk scene in 2017, yet the six-piece is now fully spread out geographically. Drummer Julian Smith and guitarist Orville Neeley also live in Los Angeles, guitarist Nate Punty is in the Mission, bassist Nate Fenton is in Mendocino County, and percussionist Jose Luna lives in New York. Welcome to being in a band in 2025. \u003c/p>\n\u003cp>Sessions with Congleton happened at the producer’s studio in LA. Bingham had acted as the band’s producer until this point, but he credits Congleton’s “any idea is worth exploring” approach. “He challenged me in every way and forced me to stand by my decisions,” Bingham says.\u003c/p>\n\u003cp>Bingham and Van Etten forged a friendship in LA over the years that led to her appearance on “You’ve Got My Number,” a pop-polished waxing on constantly being on the road and incessantly missing someone. Rhythmically, it’s a dynamic foil to “Violence In The Supermarket,” which calls to mind The Specials’ ska-dub classic “Ghost Town” and rings in disgust at yuppies on a shopping run complaining about minutiae — one of the album’s many not-so-subtle jabs at certain LA denizens. \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/mVBpaXiH1RY'\n title='//www.youtube.com/embed/mVBpaXiH1RY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a palpable push-pull on \u003cem>Rude\u003c/em>; San Francisco tugs at Bingham’s heartstrings even as he and the band experience growth (amid his own discomfort) in LA. Sometimes, he gets the best of both worlds. He describes being in his element on sunny walks through the Mission from his friend’s apartment above Kilowatt to Different Fur Studios for \u003cem>Rude\u003c/em>’s pre-production sessions. Then back in LA, he bumped into Tim Armstrong at an LA coffee shop, where the Rancid frontman commended Spiritual Cramp’s recent success. \u003c/p>\n\u003cp>The balance of it all never escapes him. Still, it’s clear to Bingham which city is truly fueling the band’s ascent. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we started the band, everyone lived here and we came together in the punk scene in the most SF way,” Bingham says. “We practiced at Polk and Bush, our first show was at the Hemlock. I want to project images of that place that’s still in my heart.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-healthy-rap-stunnaman02-larry-june-eat-a-salad",
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"content": "\u003cp>[dropcap]A[/dropcap]sk any San Francisco teenager from my generation what they did after school in the ’90s and it would most likely go something like this: bumming a cig off campus, splitting a super suiza from El Farolito with friends, and turning on \u003ca href=\"https://www.kqed.org/arts/13933590/california-music-channel-hip-hop-friday-andy-kawanami-chuy-gomez\">California Music Channel\u003c/a> to watch videos from local rap stars who never got love from MTV.\u003c/p>\n\u003cp>I felt proud of hometown heroes like RBL Posse, Messy Marv and San Quinn, who sold cassette tapes out of the trunk of their cars, making a name for themselves — and Frisco — without the backing of major record labels. Back then, much of Bay Area rap reflected the violence of the drug trade and the values of exploitative capitalism. If the music was inspirational, it was about how to be a gangster or a successful drug lord. And if someone rapped about food, it was largely as a way to woo women. “You wanna eat \u003ca href=\"https://www.kqed.org/arts/13958926/nations-burgers-pies-late-night-diner-san-pablo\">Nation’s\u003c/a>? Crab at \u003ca href=\"https://www.kqed.org/arts/13900855/garlic-noodles-sf-bay-area-iconic-foods-thanh-long-smellys\">Crustacean’s\u003c/a>?” Quinn raps on “Wassup.” “Tiger prawns, butterflied shrimp, it must be nice living like this.”\u003c/p>\n\u003cp>These days, however, there’s a new wave of Bay Area rappers pushing a different kind of aspirational lifestyle — one that’s focused on açaí bowls, organic vegetables and physical fitness rather than a life of crime. Frisco rapper Larry June was the first to double down on this new brand of wellness hip-hop, with song lyrics that reference his own self-imposed health regimen: daily fasting until 1 p.m. followed by fresh-squeezed orange juice (made from \u003ca href=\"https://www.grammy.com/news/rapper-larry-june-interview-alchemist-the-great-escape-new-album\">35 oranges\u003c/a>, to be exact) that he might savor at a crib in \u003ca href=\"https://www.youtube.com/watch?v=pRkKo0HhWcY\">Sausalito\u003c/a> with exquisite views and “\u003ca href=\"https://www.youtube.com/watch?v=ZaOtLwOkRow\">expensive couches\u003c/a>.” In “Dear Winter,” he raps, “Eat some blueberries in the mornin’, a little raw spinach / If you don’t know nun’ about me, you know I’m gon’ get it…move like a beast do / pulp in my orange juice.”\u003c/p>\n\u003cp>Indeed, Larry June may be the first rapper to make “\u003ca href=\"https://www.instagram.com/midnightorganicbrand/?hl=en\">Healthy & Organic\u003c/a>” his personal brand.\u003c/p>\n\u003cfigure id=\"attachment_13929276\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg\" alt=\"Larry June raps into the microphone on a big festival stage. He's wearing a bucket hat, designer sunglasses and a bandana and is smiling.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Larry June performs at 2023 Rolling Loud Los Angeles at Hollywood Park Grounds on March 4, 2023, in Inglewood, California. \u003ccite>(Photo by Timothy Norris/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But June isn’t the only Bay Area rapper advocating a healthy lifestyle. About eight years ago, “Don Toriano” Gordon of Fully Loaded decided to go vegan after \u003ca href=\"https://sf.eater.com/2023/11/27/23943793/vegan-mob-san-francisco-black-owned\">a health scare\u003c/a> related to his previous street lifestyle. Eventually, Gordon launched Vegan Mob, a plant-based soul food and barbecue food truck that quickly emerged as \u003ca href=\"https://www.kqed.org/arts/13895209/vegan-mob-oakland-mission-sf-expansion-food-truck-toriano-gordon-senor-sisig-vegano\">one of the most popular Black-owned vegan businesses\u003c/a> in the Bay. Now, he’s writing songs about his new diet, too. “I don’t want that shit if it ain’t plant-based,” he \u003ca href=\"https://www.youtube.com/watch?v=vXLo889RZnE\">raps\u003c/a> in “Vegan Mob.” “See you gnaw that pork and steak / Wonder why you ain’t in shape.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe the most outspoken member of this new wave is Jordan Gomes, aka Stunnaman02. Though Stunnaman had already had certified hits like “Big Steppin’” (which even has an official 49ers’ remix), his catchy 2024 ode to his love of leafy greens, “Eat a Salad,” is what put him in the pantheon of health-conscious Frisco rappers. In the song, Stunnaman extols the nutritious properties of fresh ingredients like “lemon, lime, honey … agave if you’re vegan.” To promote the single, he posted videos of himself performing custom verses that were essentially recipes for different salads he would prepare on camera — Asian chicken, watermelon and Tajin, and even a \u003ca href=\"https://www.instagram.com/p/C5m343ILmGW/\">quinoa salad \u003c/a>\u003ci>soup\u003c/i>.\u003c/p>\n\u003cp>Then, last month, Stunnaman released another healthy slap, “Veggies,” and shot the music video inside L.A. grocery stores, where he goes through the produce aisles naming the benefits of various fruits, vegetables and spices: “If I need the antioxidants, I nibble on cacao / Turmeric with the ginger it could really cleanse your bowels.”\u003c/p>\n\u003cfigure id=\"attachment_13980887\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980887\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED.jpg\" alt=\"College students walk on the sidewalk in front of Cali's Sports Bar.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to Cali’s Sports Bar & Kitchen in Berkeley, which features Stunnaman02’s signature salad and dressing on its menu. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Stunnaman has parlayed his newfound status as a hip-hop health influencer into a burgeoning side hustle. In August, he created his own signature salad at Cali’s Sports Bar in Berkeley, in collaboration with owner Wilson Wong. Made with ingredients that don’t trigger the rapper’s eczema, the salad features a choice of grilled or fried chicken, a bed of romaine lettuce and arugula, sliced onions, a custom lemon-pepper hot honey vinaigrette and a side of vegan ranch, which he loves to drizzle on top with the dressing. Stunnaman also has his own \u003ca href=\"https://www.instagram.com/big02juice/\">juice brand\u003c/a>. And he collaborates with local restaurants like Square Pie Guys, which recently released a Stunnaman-inspired “\u003ca href=\"https://www.instagram.com/reel/DQDmVVgkX5q/\">salad pizza\u003c/a>.”\u003c/p>\n\u003cp>With his black mock neck polo and pulled-back dreads, Stunnaman has the energy of a celebrity trainer, complete with the catchy mantra (“We Still Winnin’!”). He says he’s been paying attention to nutrition since he was a kid — a response to struggles with his eczema and his weight. And as the first and last person in his family to be born and raised in San Francisco, he pushes more than just healthy living. He was raised to prize “knowledge of self,” one of the seven principles of Kwanzaa and a focus of John Muir Elementary’s African cultural enrichment program.\u003c/p>\n\u003cp>“All the children my age [who went to John Muir], majority melanated children, we’re learning about not just the knowledge of self, but the history of Africa. We had to call all our elders ‘auntie’ or ‘uncle,’” he recalls.\u003c/p>\n\u003cp>While attending St. Mary’s College, he traced his genealogy four generations back on his mother’s side, finding Narragansett Native American ancestry as well as Angolan by way of Cape Verde. After seeing a picture of his Native maternal great-grandfather, Stunnaman was pleased to find his ancestor was also Black, just like him. He credits his mother and grandmother for instilling that pride in him, breathing affirmations into his everyday life that he now pays forward in his raps.\u003c/p>\n\u003cp>In fact, Stunnaman believes he’s been “sent here from another dimension to restore the collective equilibrium through holistic methods,” as he puts it in the intro to “Eat a Salad.” Having been raised Christian, he also credits God.\u003c/p>\n\u003cfigure id=\"attachment_13980885\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980885\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED.jpg\" alt=\"A fried chicken salad and a tray of chicken wings displayed on a counter.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The “Stunna Salad” and “Winnin Wings” are both part of a menu collaboration between Stunnaman02 and Cali’s Sports Bar. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might think that with its farmers market ethos, the Bay Area would have a long history of vegetable-themed rap. But prior to the recent trend, the last time I remember hearing a rap song about salad was Dead Prez’s 2001 anthem “Be Healthy,” which, somewhat cringily, rhymed “crouton” and “futon.” Before that, “healthy rap” mostly existed in the lines of rappers who claimed the Five Percent Nation and were taught to “\u003ca href=\"https://en.wikipedia.org/wiki/How_to_Eat_to_Live\">eat to live\u003c/a>” by Elijah Muhammad’s book series of the same name, which promotes vegetarianism and avoiding pork and processed foods. These teachings deeply influenced rappers like KRS-One, Rakim and Poor Righteous Teachers. In the ’90s, A Tribe Called Quest’s “Ham n Eggs” rails about the high-cholesterol soul food diets their grannies raised them on, and how difficult it was to make better food choices. It was my first time seeing that kind of health-focused pushback in hip-hop lyrics. But this was mostly all on the East Coast.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13955802,arts_13907726,arts_13921079']\u003c/span>Meanwhile, Berkeley and San Francisco were at the forefront of the natural food movement, going back to the hippie counterculture and “back to the land” movements of the ’70s. When Alice Waters opened Chez Panisse in Berkeley in 1971, it helped kick off a national farm-to-table movement that crowned Northern California the mecca of healthy food. Eating organic, biking and yoga all became part of the region’s political and moral identity. And the Black Panthers’ \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\">Free Breakfast Program\u003c/a> emphasized the importance of children eating a healthy breakfast — especially if they lived in a low-income neighborhood. For whatever reason, though, not much of these food politics were reflected in the early years of Bay Area hip-hop.\u003c/p>\n\u003cp>In any case, Stunnaman, who’s 31, admits that he didn’t listen to much rap during its “Golden Age.” “No shade to no Frisco rappers, but I ain’t really listen to rap music until I was like eight or nine,” he says. Instead, he’d request the Disney Channel or Michael Jackson whenever he had the chance.\u003c/p>\n\u003cp>Still, he pays homage: “If it wasn’t for RBL Posse, it wasn’t for Cellski, there would be no ‘Big Steppin’.’ What’s reflected in Stunnaman’s music, then, is a rich tapestry of his experience, and a community-minded focus. He really does want his people to eat healthier and take better care of themselves.\u003c/p>\n\u003cp>Slowly but surely, his message seems to be making a difference. On the day of our meeting, Stunnaman was getting ready to shoot a collab video with the popular food influencer Michael Torres, aka GrubwithMike.\u003c/p>\n\u003cp>“When his song ‘Eat a Salad’ came out, I thought [Stunnaman] was talking to me,” Torres says, explaining how he’d struggled with his weight — and how Stunnaman’s music helped inspire him to change his diet. Now, he says, “If I wasn’t doing foodie stuff, I’d damn near be a vegan. Like, I’d be super healthy, bro.”\u003c/p>\n\u003cfigure id=\"attachment_13980883\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980883\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED.jpg\" alt=\"A Black man, shirtless besides a blue and red superhero cape, poses with a fierce expression while holding a bowl of salad.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 has made salad and personal fitness his personal brand — and a big part of his community-minded message. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The OGs are either locked up or they are unfortunately on drugs. With that being the case, we’ve got to help them,” Stunnaman says, pointing out the consequences of poor lifestyle decisions by some elders in the Black community. “That’s why we got Larry June. Because we’ve seen what it was. We’ve seen the product of when you don’t have any discipline with the intake of your vices.”\u003c/p>\n\u003cp>Speaking of vices, when I finally sat down to try Stunnaman’s signature salad, I opted for the grilled chicken instead of the fried cutlets or wing combo I typically order, inspired by our conversation about making better choices. I poured the tangy, caper-flecked dressing all over my lettuce, dabbing a little ranch on there like Stunnaman suggested. With all that good health advice, it didn’t hurt to make it taste good too. Sometimes the medicine goes down better with a little song and dance on the side.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Rocky Rivera is a journalist, emcee, author and activist from San Francisco. She has released four albums through her label, Beatrock Music, and a ten-volume mixtape series with DJ Roza — her most recent album, \u003c/em>Long Kiss Goodnight\u003cem>, dropped in Sept. 2024. She released her first book, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>, in 2021.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>sk any San Francisco teenager from my generation what they did after school in the ’90s and it would most likely go something like this: bumming a cig off campus, splitting a super suiza from El Farolito with friends, and turning on \u003ca href=\"https://www.kqed.org/arts/13933590/california-music-channel-hip-hop-friday-andy-kawanami-chuy-gomez\">California Music Channel\u003c/a> to watch videos from local rap stars who never got love from MTV.\u003c/p>\n\u003cp>I felt proud of hometown heroes like RBL Posse, Messy Marv and San Quinn, who sold cassette tapes out of the trunk of their cars, making a name for themselves — and Frisco — without the backing of major record labels. Back then, much of Bay Area rap reflected the violence of the drug trade and the values of exploitative capitalism. If the music was inspirational, it was about how to be a gangster or a successful drug lord. And if someone rapped about food, it was largely as a way to woo women. “You wanna eat \u003ca href=\"https://www.kqed.org/arts/13958926/nations-burgers-pies-late-night-diner-san-pablo\">Nation’s\u003c/a>? Crab at \u003ca href=\"https://www.kqed.org/arts/13900855/garlic-noodles-sf-bay-area-iconic-foods-thanh-long-smellys\">Crustacean’s\u003c/a>?” Quinn raps on “Wassup.” “Tiger prawns, butterflied shrimp, it must be nice living like this.”\u003c/p>\n\u003cp>These days, however, there’s a new wave of Bay Area rappers pushing a different kind of aspirational lifestyle — one that’s focused on açaí bowls, organic vegetables and physical fitness rather than a life of crime. Frisco rapper Larry June was the first to double down on this new brand of wellness hip-hop, with song lyrics that reference his own self-imposed health regimen: daily fasting until 1 p.m. followed by fresh-squeezed orange juice (made from \u003ca href=\"https://www.grammy.com/news/rapper-larry-june-interview-alchemist-the-great-escape-new-album\">35 oranges\u003c/a>, to be exact) that he might savor at a crib in \u003ca href=\"https://www.youtube.com/watch?v=pRkKo0HhWcY\">Sausalito\u003c/a> with exquisite views and “\u003ca href=\"https://www.youtube.com/watch?v=ZaOtLwOkRow\">expensive couches\u003c/a>.” In “Dear Winter,” he raps, “Eat some blueberries in the mornin’, a little raw spinach / If you don’t know nun’ about me, you know I’m gon’ get it…move like a beast do / pulp in my orange juice.”\u003c/p>\n\u003cp>Indeed, Larry June may be the first rapper to make “\u003ca href=\"https://www.instagram.com/midnightorganicbrand/?hl=en\">Healthy & Organic\u003c/a>” his personal brand.\u003c/p>\n\u003cfigure id=\"attachment_13929276\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg\" alt=\"Larry June raps into the microphone on a big festival stage. He's wearing a bucket hat, designer sunglasses and a bandana and is smiling.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Larry June performs at 2023 Rolling Loud Los Angeles at Hollywood Park Grounds on March 4, 2023, in Inglewood, California. \u003ccite>(Photo by Timothy Norris/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But June isn’t the only Bay Area rapper advocating a healthy lifestyle. About eight years ago, “Don Toriano” Gordon of Fully Loaded decided to go vegan after \u003ca href=\"https://sf.eater.com/2023/11/27/23943793/vegan-mob-san-francisco-black-owned\">a health scare\u003c/a> related to his previous street lifestyle. Eventually, Gordon launched Vegan Mob, a plant-based soul food and barbecue food truck that quickly emerged as \u003ca href=\"https://www.kqed.org/arts/13895209/vegan-mob-oakland-mission-sf-expansion-food-truck-toriano-gordon-senor-sisig-vegano\">one of the most popular Black-owned vegan businesses\u003c/a> in the Bay. Now, he’s writing songs about his new diet, too. “I don’t want that shit if it ain’t plant-based,” he \u003ca href=\"https://www.youtube.com/watch?v=vXLo889RZnE\">raps\u003c/a> in “Vegan Mob.” “See you gnaw that pork and steak / Wonder why you ain’t in shape.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe the most outspoken member of this new wave is Jordan Gomes, aka Stunnaman02. Though Stunnaman had already had certified hits like “Big Steppin’” (which even has an official 49ers’ remix), his catchy 2024 ode to his love of leafy greens, “Eat a Salad,” is what put him in the pantheon of health-conscious Frisco rappers. In the song, Stunnaman extols the nutritious properties of fresh ingredients like “lemon, lime, honey … agave if you’re vegan.” To promote the single, he posted videos of himself performing custom verses that were essentially recipes for different salads he would prepare on camera — Asian chicken, watermelon and Tajin, and even a \u003ca href=\"https://www.instagram.com/p/C5m343ILmGW/\">quinoa salad \u003c/a>\u003ci>soup\u003c/i>.\u003c/p>\n\u003cp>Then, last month, Stunnaman released another healthy slap, “Veggies,” and shot the music video inside L.A. grocery stores, where he goes through the produce aisles naming the benefits of various fruits, vegetables and spices: “If I need the antioxidants, I nibble on cacao / Turmeric with the ginger it could really cleanse your bowels.”\u003c/p>\n\u003cfigure id=\"attachment_13980887\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980887\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED.jpg\" alt=\"College students walk on the sidewalk in front of Cali's Sports Bar.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to Cali’s Sports Bar & Kitchen in Berkeley, which features Stunnaman02’s signature salad and dressing on its menu. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Stunnaman has parlayed his newfound status as a hip-hop health influencer into a burgeoning side hustle. In August, he created his own signature salad at Cali’s Sports Bar in Berkeley, in collaboration with owner Wilson Wong. Made with ingredients that don’t trigger the rapper’s eczema, the salad features a choice of grilled or fried chicken, a bed of romaine lettuce and arugula, sliced onions, a custom lemon-pepper hot honey vinaigrette and a side of vegan ranch, which he loves to drizzle on top with the dressing. Stunnaman also has his own \u003ca href=\"https://www.instagram.com/big02juice/\">juice brand\u003c/a>. And he collaborates with local restaurants like Square Pie Guys, which recently released a Stunnaman-inspired “\u003ca href=\"https://www.instagram.com/reel/DQDmVVgkX5q/\">salad pizza\u003c/a>.”\u003c/p>\n\u003cp>With his black mock neck polo and pulled-back dreads, Stunnaman has the energy of a celebrity trainer, complete with the catchy mantra (“We Still Winnin’!”). He says he’s been paying attention to nutrition since he was a kid — a response to struggles with his eczema and his weight. And as the first and last person in his family to be born and raised in San Francisco, he pushes more than just healthy living. He was raised to prize “knowledge of self,” one of the seven principles of Kwanzaa and a focus of John Muir Elementary’s African cultural enrichment program.\u003c/p>\n\u003cp>“All the children my age [who went to John Muir], majority melanated children, we’re learning about not just the knowledge of self, but the history of Africa. We had to call all our elders ‘auntie’ or ‘uncle,’” he recalls.\u003c/p>\n\u003cp>While attending St. Mary’s College, he traced his genealogy four generations back on his mother’s side, finding Narragansett Native American ancestry as well as Angolan by way of Cape Verde. After seeing a picture of his Native maternal great-grandfather, Stunnaman was pleased to find his ancestor was also Black, just like him. He credits his mother and grandmother for instilling that pride in him, breathing affirmations into his everyday life that he now pays forward in his raps.\u003c/p>\n\u003cp>In fact, Stunnaman believes he’s been “sent here from another dimension to restore the collective equilibrium through holistic methods,” as he puts it in the intro to “Eat a Salad.” Having been raised Christian, he also credits God.\u003c/p>\n\u003cfigure id=\"attachment_13980885\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980885\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED.jpg\" alt=\"A fried chicken salad and a tray of chicken wings displayed on a counter.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The “Stunna Salad” and “Winnin Wings” are both part of a menu collaboration between Stunnaman02 and Cali’s Sports Bar. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might think that with its farmers market ethos, the Bay Area would have a long history of vegetable-themed rap. But prior to the recent trend, the last time I remember hearing a rap song about salad was Dead Prez’s 2001 anthem “Be Healthy,” which, somewhat cringily, rhymed “crouton” and “futon.” Before that, “healthy rap” mostly existed in the lines of rappers who claimed the Five Percent Nation and were taught to “\u003ca href=\"https://en.wikipedia.org/wiki/How_to_Eat_to_Live\">eat to live\u003c/a>” by Elijah Muhammad’s book series of the same name, which promotes vegetarianism and avoiding pork and processed foods. These teachings deeply influenced rappers like KRS-One, Rakim and Poor Righteous Teachers. In the ’90s, A Tribe Called Quest’s “Ham n Eggs” rails about the high-cholesterol soul food diets their grannies raised them on, and how difficult it was to make better food choices. It was my first time seeing that kind of health-focused pushback in hip-hop lyrics. But this was mostly all on the East Coast.\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>Meanwhile, Berkeley and San Francisco were at the forefront of the natural food movement, going back to the hippie counterculture and “back to the land” movements of the ’70s. When Alice Waters opened Chez Panisse in Berkeley in 1971, it helped kick off a national farm-to-table movement that crowned Northern California the mecca of healthy food. Eating organic, biking and yoga all became part of the region’s political and moral identity. And the Black Panthers’ \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\">Free Breakfast Program\u003c/a> emphasized the importance of children eating a healthy breakfast — especially if they lived in a low-income neighborhood. For whatever reason, though, not much of these food politics were reflected in the early years of Bay Area hip-hop.\u003c/p>\n\u003cp>In any case, Stunnaman, who’s 31, admits that he didn’t listen to much rap during its “Golden Age.” “No shade to no Frisco rappers, but I ain’t really listen to rap music until I was like eight or nine,” he says. Instead, he’d request the Disney Channel or Michael Jackson whenever he had the chance.\u003c/p>\n\u003cp>Still, he pays homage: “If it wasn’t for RBL Posse, it wasn’t for Cellski, there would be no ‘Big Steppin’.’ What’s reflected in Stunnaman’s music, then, is a rich tapestry of his experience, and a community-minded focus. He really does want his people to eat healthier and take better care of themselves.\u003c/p>\n\u003cp>Slowly but surely, his message seems to be making a difference. On the day of our meeting, Stunnaman was getting ready to shoot a collab video with the popular food influencer Michael Torres, aka GrubwithMike.\u003c/p>\n\u003cp>“When his song ‘Eat a Salad’ came out, I thought [Stunnaman] was talking to me,” Torres says, explaining how he’d struggled with his weight — and how Stunnaman’s music helped inspire him to change his diet. Now, he says, “If I wasn’t doing foodie stuff, I’d damn near be a vegan. Like, I’d be super healthy, bro.”\u003c/p>\n\u003cfigure id=\"attachment_13980883\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980883\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED.jpg\" alt=\"A Black man, shirtless besides a blue and red superhero cape, poses with a fierce expression while holding a bowl of salad.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 has made salad and personal fitness his personal brand — and a big part of his community-minded message. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The OGs are either locked up or they are unfortunately on drugs. With that being the case, we’ve got to help them,” Stunnaman says, pointing out the consequences of poor lifestyle decisions by some elders in the Black community. “That’s why we got Larry June. Because we’ve seen what it was. We’ve seen the product of when you don’t have any discipline with the intake of your vices.”\u003c/p>\n\u003cp>Speaking of vices, when I finally sat down to try Stunnaman’s signature salad, I opted for the grilled chicken instead of the fried cutlets or wing combo I typically order, inspired by our conversation about making better choices. I poured the tangy, caper-flecked dressing all over my lettuce, dabbing a little ranch on there like Stunnaman suggested. With all that good health advice, it didn’t hurt to make it taste good too. Sometimes the medicine goes down better with a little song and dance on the side.\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>Rocky Rivera is a journalist, emcee, author and activist from San Francisco. She has released four albums through her label, Beatrock Music, and a ten-volume mixtape series with DJ Roza — her most recent album, \u003c/em>Long Kiss Goodnight\u003cem>, dropped in Sept. 2024. She released her first book, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>, in 2021.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wholesome Activity Alert: The Bay’s Biggest Sandcastle Contest Is Coming Up",
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"content": "\u003cp>If you ask me, getting up early on the weekend sucks. Getting sand in your crevices sucks. And trying to build anything out of tiny grains in a windy environment is borderline insanity. Who would choose to do all of the above?\u003c/p>\n\u003cp>The many teams competing in this year’s \u003ca href=\"https://leapsandcastleclassic.org/\">Leap Sandcastle Classic\u003c/a>, that’s who. And they’ve got motivation beyond building something beautiful: the competition raises funds for arts and architecture education in Bay Area public schools.\u003c/p>\n\u003cp>Now in its 43rd year, this most wholesome of competitions pits teams of local businesses against each other in a battle to build large-scale sand sculptures. Each team is assisted by eager groups of elementary school students, who make the whole process significantly more adorable. The 2024 competition raised an impressive $266,383.\u003c/p>\n\u003cfigure id=\"attachment_13982322\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Dragon.png\" alt=\"A large scale fire-breathing dragon built from sand. San Francisco's Cliff House is visible in the distance.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Dragon.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Dragon-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Dragon-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Dragon-1536x1022.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">This dragon was built by Team Order of the Phoenix during 2022’s competition. \u003ccite>(Courtesy of Leap Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s teams will compete at Ocean Beach for a handful of different honors: Best in Show (Gold, Silver, Bronze), a “People’s Choice” award, several team awards, and a prize for “Best Student Participation.” There’s also a prize for the team that raises the most cash. Last year’s Gold Award went to Team Space Cat Starship for building, well, a space cat starship. This year, in honor of video games old and new, the theme is “Level Up!” — with participants allowed to interpret the theme any way they wish.\u003c/p>\n\u003cp>Registration for teams closed in September, but watching the event remains a thoroughly entertaining way to spend the day. This year’s competition takes place on the beach near the intersection of Balboa, and will also feature food trucks, live music by the \u003ca href=\"https://www.rockprojectsf.org/\">San Francisco Rock Project\u003c/a>, face painting, arts activities and open-play beach volleyball. For anyone feeling overcome with sandy inspiration, a “community castle” will be open to all to help build.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>May everyone’s tools stay sharp and eyeballs sand-free.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 43rd Annual \u003ca href=\"https://leapsandcastleclassic.org/\">Leap Sandcastle Classic\u003c/a> takes place on Saturday, Oct. 25, from 11 a.m.–3:30 p.m. at Ocean Beach near Balboa Street in San Francisco.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you ask me, getting up early on the weekend sucks. Getting sand in your crevices sucks. And trying to build anything out of tiny grains in a windy environment is borderline insanity. Who would choose to do all of the above?\u003c/p>\n\u003cp>The many teams competing in this year’s \u003ca href=\"https://leapsandcastleclassic.org/\">Leap Sandcastle Classic\u003c/a>, that’s who. And they’ve got motivation beyond building something beautiful: the competition raises funds for arts and architecture education in Bay Area public schools.\u003c/p>\n\u003cp>Now in its 43rd year, this most wholesome of competitions pits teams of local businesses against each other in a battle to build large-scale sand sculptures. Each team is assisted by eager groups of elementary school students, who make the whole process significantly more adorable. The 2024 competition raised an impressive $266,383.\u003c/p>\n\u003cfigure id=\"attachment_13982322\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Dragon.png\" alt=\"A large scale fire-breathing dragon built from sand. San Francisco's Cliff House is visible in the distance.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Dragon.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Dragon-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Dragon-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Dragon-1536x1022.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">This dragon was built by Team Order of the Phoenix during 2022’s competition. \u003ccite>(Courtesy of Leap Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s teams will compete at Ocean Beach for a handful of different honors: Best in Show (Gold, Silver, Bronze), a “People’s Choice” award, several team awards, and a prize for “Best Student Participation.” There’s also a prize for the team that raises the most cash. Last year’s Gold Award went to Team Space Cat Starship for building, well, a space cat starship. This year, in honor of video games old and new, the theme is “Level Up!” — with participants allowed to interpret the theme any way they wish.\u003c/p>\n\u003cp>Registration for teams closed in September, but watching the event remains a thoroughly entertaining way to spend the day. This year’s competition takes place on the beach near the intersection of Balboa, and will also feature food trucks, live music by the \u003ca href=\"https://www.rockprojectsf.org/\">San Francisco Rock Project\u003c/a>, face painting, arts activities and open-play beach volleyball. For anyone feeling overcome with sandy inspiration, a “community castle” will be open to all to help build.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"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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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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