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"title": "Josué Rojas Reuses the City’s Trash to Tell a Distinctly San Francisco Story",
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"content": "\u003cfigure id=\"attachment_13975767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg\" alt=\"A man with a San Francisco Giants hat and a paint-covered an apron pose for a photo in front of some artwork he's created.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Josué Rojas and his ‘Pupusa Face’ characters at Recology in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the southernmost edge of San Francisco, between the Cow Palace and what was once Candlestick Park, I pull up to Recology’s compost, recycling and waste transfer station.\u003c/p>\n\u003cp>Here, at a 47-acre facility, is where San Francisco’s waste is divided into piles for reuse or rubbish. Hazardous household waste, like paint, goes in one area. Small electronics, like batteries, in another. A small puddle of murky water accumulates in a corner of the airplane-hanger–sized building, as big tractor-like trucks move materials around.\u003c/p>\n\u003cp>On the other side of a huge wall, next to Recology’s offices, it’s calm. There are no trucks trucking or trash heaps heaping.\u003c/p>\n\u003cp>For here is a large art studio space, where \u003ca href=\"https://www.instagram.com/josue.rojas.art/\">Josué Rojas\u003c/a>, a longtime muralist and \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">one of four current artists-in-residency at Recology\u003c/a>, stands amid items he’s pulled from the trash.\u003c/p>\n\u003cfigure id=\"attachment_13975765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg\" alt=\"An overhead view of a man standing in a studio populated by arts supplies.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas prepares for his latest exhibition, “PUPUSA FACE: A Fever Dream Codex.” \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Repurposed paints, gently used canvases and old records that he’s set aside for listening populate the studio space. Rojas is working on his upcoming exhibition, \u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">\u003cem>Pupusa Face: A Fever Dream Codex\u003c/em>\u003c/a>, which will be on view at Recology on May 16, 17 and 20.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rojas’ work is made of brightly colored pieces and cleverly written messages inspired by his adventures in academia, his family roots in El Salvador and his upbringing in San Francisco. His art simultaneously pokes fun at 1950s Americana while subtly critiquing mass consumption and mass production in the United States.\u003c/p>\n\u003cp>And, here at the dump, Rojas’ work raises the broad question: If one artist can reuse all of this “trash” in a creative manner, what are we doing as a society?\u003c/p>\n\u003cp>“I’ve had to go through a bunch of training to be able to scavenge safely,” Rojas says, standing in his studio with a San Francisco Giants cap covering his head and paint splotch on his apron.\u003c/p>\n\u003cp>He learned about protective gear: steel toe boots, N-95 masks, puncture-resistant gloves, goggles. “At first,” he says, “I was like, ‘Man, why would I need all that?’” After one trip to the dump, where he encountered sharp and unsanitary objects, he understood. A naturally resourceful person and no stranger to dumpster-diving in the name of creative reuse, Rojas says doing so safely is paramount.\u003c/p>\n\u003cfigure id=\"attachment_13975766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg\" alt=\"An opened page of a sketchbook reveals a colorful illustration; the book is surrounded by a long list of formerly discarded items in a studio.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas says his latest work is another iteration of his previous work, so he keeps his old sketchbooks close in order to guide him. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also key? Having a partner to work with.\u003c/p>\n\u003cp>\u003ca href=\"https://www.recology.com/recology_artist/laurel-roth-hope/\">Laurel Roth Hope\u003c/a>, Rojas’ studiomate and another Recology artist-in-residence, is working on an exhibition for the mid-May opening focused on “the choices we must make every day between our individual desires and the well-being of the world at large.”\u003c/p>\n\u003cp>Rojas credits Hope with finding pieces of discarded wood that he’ll use in the latest iteration of what he calls “pupusa face.”\u003c/p>\n\u003cp>Although he often uses the term in jokes with his nephews, Rojas explains that “pupusa face” is a derogatory expression, used to describe Central Americans. “I’m just owning it,” he says, adding that it basically means someone with a round face. But it has a deeper cultural connotation when depicted in art, by pushing his Salvadoran roots into mainstream conversation — and filling a gap in the visual art lexicon.\u003c/p>\n\u003cp>“I don’t really think we’ve got a lot of Central American heroes,” Rojas says. There’s no Jean-Michel Basquiat, Diego Rivera or Frida Kahlo of Central America, he surmises. “I know we \u003ci>do\u003c/i> have those artists, but as far as them getting prime time, we don’t.” He believes his work is a part of a larger effort to “get some eyes on Central American stories,” which he notes is easily distinguishable from Mexican culture.\u003c/p>\n\u003cfigure id=\"attachment_13975764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg\" alt=\"A man with a hat and a paint-covered apron on stands and poses while looking at the camera.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas stands atop at set of stairs inside of a studio at Recology’s headquarters in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve got a presence in the Bay Area and in San Francisco that’s distinct,” says Rojas.\u003c/p>\n\u003cp>Known to \u003ca href=\"https://www.kqed.org/arts/13912879/rightnowish-sf-mission-muralist-mothers-day\">sometimes paint with his mother\u003c/a>, Esther, Rojas’ love for the City runs deep. He’s been an educator and a journalist, formerly serving as the executive director of Acción Latina, which publishes the long-running bilingual periodical \u003ci>El Tecolote\u003c/i>. After painting his first mural in 1995, he now has art all around town, including a piece just completed last month at the new Sunset Dunes Park.\u003c/p>\n\u003cp>Despite being so deeply intertwined with the City, he’s never before seen it this way: by looking at its trash.\u003c/p>\n\u003cp>“Seeing the way San Francisco digests a lot of its stuff,” he says, “I love it in a different way now.”\u003c/p>\n\u003cp>Recology’s art program was founded 35 years ago. Deborah Munk, manager of the residency, has been here for 25 of those years. She tells me that the program’s founder, \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">Jo Hanson\u003c/a>, once rented a bus and invited politicians and socialites to a gallery viewing. Instead, she took them on a tour of illegal dumping sites around the city.\u003c/p>\n\u003cp>With his work, Rojas isn’t looking to be as in-your-face, but his use of postwar imagery — a Dubble-Bubble gum wrapper design, the bright colors in advertising for 1950s toys — evokes an era when one-time use materials \u003ca href=\"https://oneplanetlife.com/people-and-planet-first/opl-insight-plastic-production-and-recycling-from-1950-to-today/\">like plastics\u003c/a> were seen as progress instead of environmental liabilities.\u003c/p>\n\u003cfigure id=\"attachment_13975768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13975768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg\" alt=\"An artist rolls out a scroll full of paint and words. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas often works on long scrolls, which he calls books. This one has depictions of the 1989 World Series, It’s-It Ice Cream and other local staples. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same concept of production and consumption, the way we use and disregard our natural resources, can be seen as a metaphor for how certain people are treated in a city like San Francisco, where many working-class folks have been pushed out.\u003c/p>\n\u003cp>“Staying in San Francisco is for sure a challenge,” says Rojas, who notes he was once evicted from his residence in the Mission. As the City changes, metaphorically disposing the people who made it what it is, Rojas finds a silver lining: he’s still around to contribute to his hometown.\u003c/p>\n\u003cp>“I feel like I need to renew the contract with the City every day,” he says. “If I want to be a part of the future of San Francisco, I can’t be a captive to nostalgia.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Josué Rojas’ ‘\u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">Pupupsa Face: A Fever Dream Codex\u003c/a>’ is on view alongside exhibitions by Laurel Roth Hope, Eleanor Scholz and Daniela Tinoco on May 16, 17 and 20 at Recology Art Studios in San Francisco. Artist talk on May 20.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13975767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg\" alt=\"A man with a San Francisco Giants hat and a paint-covered an apron pose for a photo in front of some artwork he's created.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Josué Rojas and his ‘Pupusa Face’ characters at Recology in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the southernmost edge of San Francisco, between the Cow Palace and what was once Candlestick Park, I pull up to Recology’s compost, recycling and waste transfer station.\u003c/p>\n\u003cp>Here, at a 47-acre facility, is where San Francisco’s waste is divided into piles for reuse or rubbish. Hazardous household waste, like paint, goes in one area. Small electronics, like batteries, in another. A small puddle of murky water accumulates in a corner of the airplane-hanger–sized building, as big tractor-like trucks move materials around.\u003c/p>\n\u003cp>On the other side of a huge wall, next to Recology’s offices, it’s calm. There are no trucks trucking or trash heaps heaping.\u003c/p>\n\u003cp>For here is a large art studio space, where \u003ca href=\"https://www.instagram.com/josue.rojas.art/\">Josué Rojas\u003c/a>, a longtime muralist and \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">one of four current artists-in-residency at Recology\u003c/a>, stands amid items he’s pulled from the trash.\u003c/p>\n\u003cfigure id=\"attachment_13975765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg\" alt=\"An overhead view of a man standing in a studio populated by arts supplies.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas prepares for his latest exhibition, “PUPUSA FACE: A Fever Dream Codex.” \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Repurposed paints, gently used canvases and old records that he’s set aside for listening populate the studio space. Rojas is working on his upcoming exhibition, \u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">\u003cem>Pupusa Face: A Fever Dream Codex\u003c/em>\u003c/a>, which will be on view at Recology on May 16, 17 and 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rojas’ work is made of brightly colored pieces and cleverly written messages inspired by his adventures in academia, his family roots in El Salvador and his upbringing in San Francisco. His art simultaneously pokes fun at 1950s Americana while subtly critiquing mass consumption and mass production in the United States.\u003c/p>\n\u003cp>And, here at the dump, Rojas’ work raises the broad question: If one artist can reuse all of this “trash” in a creative manner, what are we doing as a society?\u003c/p>\n\u003cp>“I’ve had to go through a bunch of training to be able to scavenge safely,” Rojas says, standing in his studio with a San Francisco Giants cap covering his head and paint splotch on his apron.\u003c/p>\n\u003cp>He learned about protective gear: steel toe boots, N-95 masks, puncture-resistant gloves, goggles. “At first,” he says, “I was like, ‘Man, why would I need all that?’” After one trip to the dump, where he encountered sharp and unsanitary objects, he understood. A naturally resourceful person and no stranger to dumpster-diving in the name of creative reuse, Rojas says doing so safely is paramount.\u003c/p>\n\u003cfigure id=\"attachment_13975766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg\" alt=\"An opened page of a sketchbook reveals a colorful illustration; the book is surrounded by a long list of formerly discarded items in a studio.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas says his latest work is another iteration of his previous work, so he keeps his old sketchbooks close in order to guide him. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also key? Having a partner to work with.\u003c/p>\n\u003cp>\u003ca href=\"https://www.recology.com/recology_artist/laurel-roth-hope/\">Laurel Roth Hope\u003c/a>, Rojas’ studiomate and another Recology artist-in-residence, is working on an exhibition for the mid-May opening focused on “the choices we must make every day between our individual desires and the well-being of the world at large.”\u003c/p>\n\u003cp>Rojas credits Hope with finding pieces of discarded wood that he’ll use in the latest iteration of what he calls “pupusa face.”\u003c/p>\n\u003cp>Although he often uses the term in jokes with his nephews, Rojas explains that “pupusa face” is a derogatory expression, used to describe Central Americans. “I’m just owning it,” he says, adding that it basically means someone with a round face. But it has a deeper cultural connotation when depicted in art, by pushing his Salvadoran roots into mainstream conversation — and filling a gap in the visual art lexicon.\u003c/p>\n\u003cp>“I don’t really think we’ve got a lot of Central American heroes,” Rojas says. There’s no Jean-Michel Basquiat, Diego Rivera or Frida Kahlo of Central America, he surmises. “I know we \u003ci>do\u003c/i> have those artists, but as far as them getting prime time, we don’t.” He believes his work is a part of a larger effort to “get some eyes on Central American stories,” which he notes is easily distinguishable from Mexican culture.\u003c/p>\n\u003cfigure id=\"attachment_13975764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg\" alt=\"A man with a hat and a paint-covered apron on stands and poses while looking at the camera.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas stands atop at set of stairs inside of a studio at Recology’s headquarters in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve got a presence in the Bay Area and in San Francisco that’s distinct,” says Rojas.\u003c/p>\n\u003cp>Known to \u003ca href=\"https://www.kqed.org/arts/13912879/rightnowish-sf-mission-muralist-mothers-day\">sometimes paint with his mother\u003c/a>, Esther, Rojas’ love for the City runs deep. He’s been an educator and a journalist, formerly serving as the executive director of Acción Latina, which publishes the long-running bilingual periodical \u003ci>El Tecolote\u003c/i>. After painting his first mural in 1995, he now has art all around town, including a piece just completed last month at the new Sunset Dunes Park.\u003c/p>\n\u003cp>Despite being so deeply intertwined with the City, he’s never before seen it this way: by looking at its trash.\u003c/p>\n\u003cp>“Seeing the way San Francisco digests a lot of its stuff,” he says, “I love it in a different way now.”\u003c/p>\n\u003cp>Recology’s art program was founded 35 years ago. Deborah Munk, manager of the residency, has been here for 25 of those years. She tells me that the program’s founder, \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">Jo Hanson\u003c/a>, once rented a bus and invited politicians and socialites to a gallery viewing. Instead, she took them on a tour of illegal dumping sites around the city.\u003c/p>\n\u003cp>With his work, Rojas isn’t looking to be as in-your-face, but his use of postwar imagery — a Dubble-Bubble gum wrapper design, the bright colors in advertising for 1950s toys — evokes an era when one-time use materials \u003ca href=\"https://oneplanetlife.com/people-and-planet-first/opl-insight-plastic-production-and-recycling-from-1950-to-today/\">like plastics\u003c/a> were seen as progress instead of environmental liabilities.\u003c/p>\n\u003cfigure id=\"attachment_13975768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13975768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg\" alt=\"An artist rolls out a scroll full of paint and words. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas often works on long scrolls, which he calls books. This one has depictions of the 1989 World Series, It’s-It Ice Cream and other local staples. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same concept of production and consumption, the way we use and disregard our natural resources, can be seen as a metaphor for how certain people are treated in a city like San Francisco, where many working-class folks have been pushed out.\u003c/p>\n\u003cp>“Staying in San Francisco is for sure a challenge,” says Rojas, who notes he was once evicted from his residence in the Mission. As the City changes, metaphorically disposing the people who made it what it is, Rojas finds a silver lining: he’s still around to contribute to his hometown.\u003c/p>\n\u003cp>“I feel like I need to renew the contract with the City every day,” he says. “If I want to be a part of the future of San Francisco, I can’t be a captive to nostalgia.”\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>Josué Rojas’ ‘\u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">Pupupsa Face: A Fever Dream Codex\u003c/a>’ is on view alongside exhibitions by Laurel Roth Hope, Eleanor Scholz and Daniela Tinoco on May 16, 17 and 20 at Recology Art Studios in San Francisco. Artist talk on May 20.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "biggest-taiwanese-american-food-festival-union-square-sf-2025",
"title": "The West Coast’s Biggest Taiwanese Culture Festival Returns to Union Square",
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"headTitle": "The West Coast’s Biggest Taiwanese Culture Festival Returns to Union Square | KQED",
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"content": "\u003cfigure id=\"attachment_13975799\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975799 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage.jpg\" alt=\"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Braised minced pork rice (aka lu rou fan) from Liang’s Village, one of the anchor food vendors at this year’s Taiwanese American Culture Festival. The event returns to San Francisco’s Union Square on Saturday, May 10. \u003ccite>(Courtesy of Liang's Village)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The regional cuisines of \u003ca href=\"https://www.kqed.org/arts/tag/taiwanese-food\">Taiwan\u003c/a> are vast and \u003ca href=\"https://www.kqed.org/arts/13959259/taiwanese-cookbook-clarissa-wei-interview-sf-bay-area\">endlessly diverse\u003c/a>, but any Taiwanese food festival worth its salt has to hit all the classics: beef noodle soup, fat-drenched lu rou fan and popcorn chicken bedecked with crispy basil leaves. An ice-cold \u003ca href=\"https://www.kqed.org/arts/13957666/best-boba-shops-bay-area-berkeley-cupertino-sf\">boba\u003c/a> tea to wash it all down.\u003c/p>\n\u003cp>On Saturday, May 10, San Francisco’s 32nd annual \u003ca href=\"https://www.tap-sf.org/tacf\">Taiwanese American Culture Festival\u003c/a> returns, and Union Square will be awash with all of those foundational dishes and more. The biggest event of its kind on the West Coast, the festival has steadily expanded its food offerings since returning from a pandemic-era pause a couple years ago. These days, the Union Square extravaganza boasts more hot food options, a greater mix of established restaurants and up-and-coming pop-ups and collaborations with national brands like \u003ca href=\"https://yunhai.shop/?srsltid=AfmBOopYianPsDWj8Rd9N-5OjplGot2cVCJSsdQx9ajuG6_FDZM2Jca4\">Yun Hai\u003c/a>. (The Brooklyn-based Taiwanese pantry’s sauces and dried fruit snacks are a staple for countless second-gen Taiwanese food enthusiasts.)\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13897936,arts_13959259']\u003c/span>\u003c/span>An ideal food tour of this year’s festival offerings might include a stop at the Liang’s Village stall for a hearty bowl of beef noodle soup and some spicy, Pingtung-style \u003ca href=\"https://www.kqed.org/arts/13897684/pandemic-taiwanese-food-liangs-village\">cold peanut noodles\u003c/a>, especially if it’s a hot day. Both Liang’s and the boba shop Mr. Green Bubble will be selling the succulent braised pork belly rice bowls known as \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">lu rou fan\u003c/a>, though my personal favorite is Mr. Green Bubble’s take on Taiwanese popcorn chicken — one of the best versions you’ll find at a boba shop. Meanwhile, Hayward cult favorite MITK will offer some of the most nostalgic street food dishes: oyster pancakes, black pepper buns and \u003ca href=\"https://www.kqed.org/arts/13897868/taiwanese-breakfast-bay-area\">fan tuan\u003c/a> (aka “rice burritos”).\u003c/p>\n\u003cfigure id=\"attachment_13975803\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang.jpg\" alt=\"Taiwanese-style hot dog bun on a plate, against a red backdrop.\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Taiwanese-style hot dog bun from Little Moon Bakehouse. \u003ccite>(Dana Mariko Chang, courtesy of Little Moon Bakehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those with a sweet tooth can make a beeline for \u003ca href=\"https://www.instagram.com/littlemoonbakehouse/\">Little Moon Bakehouse\u003c/a> (formerly \u003ca href=\"https://www.kqed.org/arts/13908103/lunar-new-year-vegan-mooncake-biscuits-annies-t-cakes\">Annie’s T Cakes\u003c/a>) for Taiwanese-inspired buns and pastries, and \u003ca href=\"https://www.instagram.com/nekosama_ba/\">Nekosama’s\u003c/a> assortment of cute cat-shaped cookies.\u003c/p>\n\u003cp>The festival will include a \u003ca href=\"https://www.instagram.com/p/DJMzPyuP56A/\">book fair\u003c/a> highlighting Taiwanese American authors, fun merch from local artists and designers, and a robust lineup of both traditional and contemporary cultural performances (headlined by singer-songwriter \u003ca href=\"https://www.tiktok.com/@whoisnikorain/video/7433878639504248110\">Niko Rain\u003c/a>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for many visitors, checking out each year’s food lineup is the most exciting part of the festival. Who knows? Maybe next year \u003ca href=\"https://www.kqed.org/arts/13940133/stinky-tofu-childrens-book-ra-pu-zel\">stinky tofu\u003c/a> will even make an appearance.\u003c/p>\n\u003cfigure id=\"attachment_13975806\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975806\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24.jpg\" alt=\"Food stall at a food festival in Union Square, San Francisco.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">MITK’s stall at the 2024 edition of the festival. This year, the Hayward catering business will be selling oyster pancakes, fan tuan and more. \u003ccite>(Courtesy of MITK)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This year’s \u003c/i>\u003ca href=\"https://www.tap-sf.org/tacf\">\u003ci>Taiwanese American Cultural Festival\u003c/i>\u003c/a>\u003ci> will take place on Saturday, May 10, 10 a.m.–4 p.m. at Union Square in San Francisco. Admission is free.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13975799\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975799 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage.jpg\" alt=\"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/minced-pork-rice_liangsvillage-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Braised minced pork rice (aka lu rou fan) from Liang’s Village, one of the anchor food vendors at this year’s Taiwanese American Culture Festival. The event returns to San Francisco’s Union Square on Saturday, May 10. \u003ccite>(Courtesy of Liang's Village)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The regional cuisines of \u003ca href=\"https://www.kqed.org/arts/tag/taiwanese-food\">Taiwan\u003c/a> are vast and \u003ca href=\"https://www.kqed.org/arts/13959259/taiwanese-cookbook-clarissa-wei-interview-sf-bay-area\">endlessly diverse\u003c/a>, but any Taiwanese food festival worth its salt has to hit all the classics: beef noodle soup, fat-drenched lu rou fan and popcorn chicken bedecked with crispy basil leaves. An ice-cold \u003ca href=\"https://www.kqed.org/arts/13957666/best-boba-shops-bay-area-berkeley-cupertino-sf\">boba\u003c/a> tea to wash it all down.\u003c/p>\n\u003cp>On Saturday, May 10, San Francisco’s 32nd annual \u003ca href=\"https://www.tap-sf.org/tacf\">Taiwanese American Culture Festival\u003c/a> returns, and Union Square will be awash with all of those foundational dishes and more. The biggest event of its kind on the West Coast, the festival has steadily expanded its food offerings since returning from a pandemic-era pause a couple years ago. These days, the Union Square extravaganza boasts more hot food options, a greater mix of established restaurants and up-and-coming pop-ups and collaborations with national brands like \u003ca href=\"https://yunhai.shop/?srsltid=AfmBOopYianPsDWj8Rd9N-5OjplGot2cVCJSsdQx9ajuG6_FDZM2Jca4\">Yun Hai\u003c/a>. (The Brooklyn-based Taiwanese pantry’s sauces and dried fruit snacks are a staple for countless second-gen Taiwanese food enthusiasts.)\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>An ideal food tour of this year’s festival offerings might include a stop at the Liang’s Village stall for a hearty bowl of beef noodle soup and some spicy, Pingtung-style \u003ca href=\"https://www.kqed.org/arts/13897684/pandemic-taiwanese-food-liangs-village\">cold peanut noodles\u003c/a>, especially if it’s a hot day. Both Liang’s and the boba shop Mr. Green Bubble will be selling the succulent braised pork belly rice bowls known as \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">lu rou fan\u003c/a>, though my personal favorite is Mr. Green Bubble’s take on Taiwanese popcorn chicken — one of the best versions you’ll find at a boba shop. Meanwhile, Hayward cult favorite MITK will offer some of the most nostalgic street food dishes: oyster pancakes, black pepper buns and \u003ca href=\"https://www.kqed.org/arts/13897868/taiwanese-breakfast-bay-area\">fan tuan\u003c/a> (aka “rice burritos”).\u003c/p>\n\u003cfigure id=\"attachment_13975803\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang.jpg\" alt=\"Taiwanese-style hot dog bun on a plate, against a red backdrop.\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/2024_09_02_HotDogBun_0159-dana-mariko-chang-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Taiwanese-style hot dog bun from Little Moon Bakehouse. \u003ccite>(Dana Mariko Chang, courtesy of Little Moon Bakehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those with a sweet tooth can make a beeline for \u003ca href=\"https://www.instagram.com/littlemoonbakehouse/\">Little Moon Bakehouse\u003c/a> (formerly \u003ca href=\"https://www.kqed.org/arts/13908103/lunar-new-year-vegan-mooncake-biscuits-annies-t-cakes\">Annie’s T Cakes\u003c/a>) for Taiwanese-inspired buns and pastries, and \u003ca href=\"https://www.instagram.com/nekosama_ba/\">Nekosama’s\u003c/a> assortment of cute cat-shaped cookies.\u003c/p>\n\u003cp>The festival will include a \u003ca href=\"https://www.instagram.com/p/DJMzPyuP56A/\">book fair\u003c/a> highlighting Taiwanese American authors, fun merch from local artists and designers, and a robust lineup of both traditional and contemporary cultural performances (headlined by singer-songwriter \u003ca href=\"https://www.tiktok.com/@whoisnikorain/video/7433878639504248110\">Niko Rain\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for many visitors, checking out each year’s food lineup is the most exciting part of the festival. Who knows? Maybe next year \u003ca href=\"https://www.kqed.org/arts/13940133/stinky-tofu-childrens-book-ra-pu-zel\">stinky tofu\u003c/a> will even make an appearance.\u003c/p>\n\u003cfigure id=\"attachment_13975806\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975806\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24.jpg\" alt=\"Food stall at a food festival in Union Square, San Francisco.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mtk-at-tacf-24-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">MITK’s stall at the 2024 edition of the festival. This year, the Hayward catering business will be selling oyster pancakes, fan tuan and more. \u003ccite>(Courtesy of MITK)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This year’s \u003c/i>\u003ca href=\"https://www.tap-sf.org/tacf\">\u003ci>Taiwanese American Cultural Festival\u003c/i>\u003c/a>\u003ci> will take place on Saturday, May 10, 10 a.m.–4 p.m. at Union Square in San Francisco. Admission is free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the 1940s, Coby Yee’s performances at San Francisco’s most famous Chinatown nightclub were positively scandalous. Yee and \u003ca href=\"https://www.kqed.org/arts/13914487/the-chinatown-nightclub-dancer-who-helped-squash-asian-stereotypes\">other young Asian American women on the stage at Forbidden City\u003c/a> showed off modern dance moves, contemporary fashions and — most controversially — their legs. These now-legendary dancers not only helped squash outdated stereotypes about Asian women, they had a riot of a good time in the process and were a huge hit with audiences.\u003c/p>\n\u003cp>[aside postid='arts_13904467']It’s clear that in her youth, Yee was a free spirit — she had to be in order to work in the clubs in the first place. Now, a new documentary demonstrates that she retained her rebellious personality for the rest of her life.\u003c/p>\n\u003cp>\u003cem>Chinatown Cha-Cha\u003c/em> finds Yee at age 92, performing what she refers to as her swan song: the final dance routines of her life, complete with risqué moves and signature coy expressions. In the film, Yee is an effervescent figure both on and offstage, brimming with spicy charisma and a no-nonsense attitude.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x5aMBEIdkK8\u003c/p>\n\u003cp>Accompanying Yee on her final journeys to perform in Beijing and Havana are the \u003ca href=\"https://www.kqed.org/arts/13923980/san-francisco-chinatown-seniors-welcome-in-the-lunar-new-year-with-rap\">Grant Avenue Follies\u003c/a>, San Francisco’s premier senior cabaret troupe, all of whom add color (and several spontaneous outbreaks of song) to the proceedings. But it’s Yee’s romantic relationship with her dance partner Stephen King — a man 20 years her junior — that carries probably the most fascinating dynamic of the film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On stage, Yee and King perform George Strait’s 1998 hit “\u003ca href=\"https://www.youtube.com/watch?v=z5Fbcmsp-5s\">I Just Want to Dance With You\u003c/a>” together. King sings adoringly while Yee slowly disrobes down to a leg-baring leotard. Offstage, the couple are playful with one another, often wearing matching outfits designed and sewn at home by Yee, while King creates collages of his love standing on mountaintops. Theirs is an odd coupling, but one that clearly works. At the time director Luka Yuanyuan Yang made \u003cem>Chinatown Cha-Cha\u003c/em>, the lovebirds had been together for 20 years.\u003c/p>\n\u003cp>“Old age has been a great time for us,” King acknowledges at one point. “How unpredictable life is.”\u003c/p>\n\u003cp>That’s really the whole point of \u003cem>Chinatown Cha-Cha\u003c/em>. The film isn’t just about staying active and unconventional into old age, it’s about refusing to give up what you love, whether or not other people think your behavior is appropriate. The energy level of every senior featured here is a testament to sticking with your own personal passions. Doing so is clearly a great way to stay young.\u003c/p>\n\u003cp>[aside postid='arts_13914487']\u003cem>Chinatown Cha-Cha\u003c/em> is not perfect. It would have benefited from a little more background about Yee’s life at Forbidden City — especially since she and her family owned and ran the club in its later years. The structure of the documentary is a little too loose, and doesn’t spend enough time documenting the Grant Avenue Follies’ history and live performances. (There are also three different kinds of fonts used on screen throughout, lending an unfinished feel to the film.)\u003c/p>\n\u003cp>That being said, the fact that Yee’s final performances and, it turns out, last months on Earth are captured in \u003cem>Chinatown Cha-Cha\u003c/em> makes this a film worthy of attention. At one point, as Yee casually completes a game of solitaire on her desktop computer, King questions the nature of life and legacy.\u003c/p>\n\u003cp>“When you’re gone,” he ponders, “and all the people that knew you are gone, it will be like you never were.”\u003c/p>\n\u003cp>Thanks to \u003cem>Chinatown Cha-Cha\u003c/em>, Yee’s legacy will be much harder to forget.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Chinatown Cha-Cha’ screens Friday, May 9 as part of CAAMFest at AMC Kabuki 3 in San Francisco; on Saturday, May 10, at Stanford University’s Oshman Hall in Palo Alto; and Sunday, May 11, at the Great Star Theater in San Francisco. A Q&A follows each screening. \u003ca href=\"https://www.chinatownchacha.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s clear that in her youth, Yee was a free spirit — she had to be in order to work in the clubs in the first place. Now, a new documentary demonstrates that she retained her rebellious personality for the rest of her life.\u003c/p>\n\u003cp>\u003cem>Chinatown Cha-Cha\u003c/em> finds Yee at age 92, performing what she refers to as her swan song: the final dance routines of her life, complete with risqué moves and signature coy expressions. In the film, Yee is an effervescent figure both on and offstage, brimming with spicy charisma and a no-nonsense attitude.\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/x5aMBEIdkK8'\n title='//www.youtube.com/embed/x5aMBEIdkK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Accompanying Yee on her final journeys to perform in Beijing and Havana are the \u003ca href=\"https://www.kqed.org/arts/13923980/san-francisco-chinatown-seniors-welcome-in-the-lunar-new-year-with-rap\">Grant Avenue Follies\u003c/a>, San Francisco’s premier senior cabaret troupe, all of whom add color (and several spontaneous outbreaks of song) to the proceedings. But it’s Yee’s romantic relationship with her dance partner Stephen King — a man 20 years her junior — that carries probably the most fascinating dynamic of the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On stage, Yee and King perform George Strait’s 1998 hit “\u003ca href=\"https://www.youtube.com/watch?v=z5Fbcmsp-5s\">I Just Want to Dance With You\u003c/a>” together. King sings adoringly while Yee slowly disrobes down to a leg-baring leotard. Offstage, the couple are playful with one another, often wearing matching outfits designed and sewn at home by Yee, while King creates collages of his love standing on mountaintops. Theirs is an odd coupling, but one that clearly works. At the time director Luka Yuanyuan Yang made \u003cem>Chinatown Cha-Cha\u003c/em>, the lovebirds had been together for 20 years.\u003c/p>\n\u003cp>“Old age has been a great time for us,” King acknowledges at one point. “How unpredictable life is.”\u003c/p>\n\u003cp>That’s really the whole point of \u003cem>Chinatown Cha-Cha\u003c/em>. The film isn’t just about staying active and unconventional into old age, it’s about refusing to give up what you love, whether or not other people think your behavior is appropriate. The energy level of every senior featured here is a testament to sticking with your own personal passions. Doing so is clearly a great way to stay young.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Chinatown Cha-Cha\u003c/em> is not perfect. It would have benefited from a little more background about Yee’s life at Forbidden City — especially since she and her family owned and ran the club in its later years. The structure of the documentary is a little too loose, and doesn’t spend enough time documenting the Grant Avenue Follies’ history and live performances. (There are also three different kinds of fonts used on screen throughout, lending an unfinished feel to the film.)\u003c/p>\n\u003cp>That being said, the fact that Yee’s final performances and, it turns out, last months on Earth are captured in \u003cem>Chinatown Cha-Cha\u003c/em> makes this a film worthy of attention. At one point, as Yee casually completes a game of solitaire on her desktop computer, King questions the nature of life and legacy.\u003c/p>\n\u003cp>“When you’re gone,” he ponders, “and all the people that knew you are gone, it will be like you never were.”\u003c/p>\n\u003cp>Thanks to \u003cem>Chinatown Cha-Cha\u003c/em>, Yee’s legacy will be much harder to forget.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Chinatown Cha-Cha’ screens Friday, May 9 as part of CAAMFest at AMC Kabuki 3 in San Francisco; on Saturday, May 10, at Stanford University’s Oshman Hall in Palo Alto; and Sunday, May 11, at the Great Star Theater in San Francisco. A Q&A follows each screening. \u003ca href=\"https://www.chinatownchacha.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After layoffs and reports of financial disarray at the San Francisco Parks Alliance, the nonprofit’s Sundown Cinema film series has been canceled. The open-air movie screenings, staged for free in city parks throughout the summer and fall, had been an annual draw since 2003.\u003c/p>\n\u003cp>“We are not going to be able to do it as it currently stands,” Robert Ogilvie, the CEO of SF Parks Alliance, told KQED. “These are very difficult decisions to suspend these things that we’re famous for and much loved for.”\u003c/p>\n\u003cp>The cinema program traditionally starts in mid-May and runs through mid-October. Ogilvie confirmed the SF Parks Alliance has no remaining event or programming staff, and cannot afford to run the program, which he estimates costs $30,000–$40,000 per event to produce.\u003c/p>\n\u003cp>“Some of the partners we worked with may be able to pick it up,” Ogilvie said.\u003c/p>\n\u003cp>Noise Pop, which previously partnered with the SF Parks Alliance via DoTheBay, confirmed that their involvement on the project ended with last year’s final screening. A June 7 Sundown Cinema screening of \u003ci>Wicked\u003c/i> announced for the Yerba Buena Gardens Festival will proceed as planned, with the festival taking on production of the event on their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, the Sundown Cinema schedule spanned seven films in seven locations around San Francisco, including a Dolores Park sing-along screening of \u003ci>Selena\u003c/i>, a presentation by Rick Prelinger of his \u003ci>Lost Landscapes\u003c/i> series at Duboce Park and a Halloween-themed season closer of \u003ci>The Nightmare Before Christmas\u003c/i> at McClaren Park’s Jerry Garcia Amphitheater.\u003c/p>\n\u003cfigure id=\"attachment_13917733\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917733\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png\" alt=\"Many people gather on the slanted lawn in front of a large screen surrounded on all sides with trees.\" width=\"1568\" height=\"1004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1536x984.png 1536w\" sizes=\"auto, (max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">A scene from a Sundown Cinema event at Jerry Garcia Amphitheater in McLaren Park. \u003ccite>(Instagram/ @dothebay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SF Parks Alliance helps fund capital projects and public events at San Francisco parks, and acts as a \u003ca href=\"https://sanfranciscoparksalliance.org/our-work/community-partners/\">fiscal sponsor for small community organizations\u003c/a> like the Buena Vista Neighborhood Association and Friends of Balboa Park. Recent reporting by the \u003ci>San Francisco Chronicle\u003c/i> found that \u003ca href=\"https://www.sfchronicle.com/sf/article/parks-alliance-financial-disarray-comunity-groups-20293384.php\">the SF Parks Alliance has struggled\u003c/a> in recent months to reimburse these community partners for expenses in a timely manner.\u003c/p>\n\u003cp>The SF Parks Alliance’s financial situation is precarious. Its most recent available tax filings show a deficit of nearly $5.6 million. Eight staff members were laid off in late 2024; another six employees were laid off this month, leaving just seven full-time staff members.\u003c/p>\n\u003cp>[aside postID='news_11896762']In late April, the San Francisco Film Festival partnered with the SF Parks Alliance for a pre-season screening of \u003ci>The Fog\u003c/i> at the Presidio’s Civil War Parade Ground. The rest of the summer’s movies were expected to be announced shortly afterward.\u003c/p>\n\u003cp>Some of the SF Parks Alliance’s other planned events, like a series of Park Markets at Crane Cove, were canceled before they were announced to the public.\u003c/p>\n\u003cp>Small business owners and artists who had been accepted as vendors at the upcoming July 19, Aug. 23 and Oct. 18 Park Markets were notified via email that the markets were canceled due to “budget cuts.” Doug MacNeil, who sells journals made from recycled materials under the moniker \u003ca href=\"https://www.recoveryourthoughts.com/\">Recover Your Thoughts\u003c/a>, had already sent in his table fees for two of the dates.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In the email I was told I’d be reimbursed,” MacNeil wrote to KQED. “I suppose I’ll just have to wait.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After layoffs and reports of financial disarray at the San Francisco Parks Alliance, the nonprofit’s Sundown Cinema film series has been canceled. The open-air movie screenings, staged for free in city parks throughout the summer and fall, had been an annual draw since 2003.\u003c/p>\n\u003cp>“We are not going to be able to do it as it currently stands,” Robert Ogilvie, the CEO of SF Parks Alliance, told KQED. “These are very difficult decisions to suspend these things that we’re famous for and much loved for.”\u003c/p>\n\u003cp>The cinema program traditionally starts in mid-May and runs through mid-October. Ogilvie confirmed the SF Parks Alliance has no remaining event or programming staff, and cannot afford to run the program, which he estimates costs $30,000–$40,000 per event to produce.\u003c/p>\n\u003cp>“Some of the partners we worked with may be able to pick it up,” Ogilvie said.\u003c/p>\n\u003cp>Noise Pop, which previously partnered with the SF Parks Alliance via DoTheBay, confirmed that their involvement on the project ended with last year’s final screening. A June 7 Sundown Cinema screening of \u003ci>Wicked\u003c/i> announced for the Yerba Buena Gardens Festival will proceed as planned, with the festival taking on production of the event on their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, the Sundown Cinema schedule spanned seven films in seven locations around San Francisco, including a Dolores Park sing-along screening of \u003ci>Selena\u003c/i>, a presentation by Rick Prelinger of his \u003ci>Lost Landscapes\u003c/i> series at Duboce Park and a Halloween-themed season closer of \u003ci>The Nightmare Before Christmas\u003c/i> at McClaren Park’s Jerry Garcia Amphitheater.\u003c/p>\n\u003cfigure id=\"attachment_13917733\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917733\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png\" alt=\"Many people gather on the slanted lawn in front of a large screen surrounded on all sides with trees.\" width=\"1568\" height=\"1004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1536x984.png 1536w\" sizes=\"auto, (max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">A scene from a Sundown Cinema event at Jerry Garcia Amphitheater in McLaren Park. \u003ccite>(Instagram/ @dothebay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SF Parks Alliance helps fund capital projects and public events at San Francisco parks, and acts as a \u003ca href=\"https://sanfranciscoparksalliance.org/our-work/community-partners/\">fiscal sponsor for small community organizations\u003c/a> like the Buena Vista Neighborhood Association and Friends of Balboa Park. Recent reporting by the \u003ci>San Francisco Chronicle\u003c/i> found that \u003ca href=\"https://www.sfchronicle.com/sf/article/parks-alliance-financial-disarray-comunity-groups-20293384.php\">the SF Parks Alliance has struggled\u003c/a> in recent months to reimburse these community partners for expenses in a timely manner.\u003c/p>\n\u003cp>The SF Parks Alliance’s financial situation is precarious. Its most recent available tax filings show a deficit of nearly $5.6 million. Eight staff members were laid off in late 2024; another six employees were laid off this month, leaving just seven full-time staff members.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In late April, the San Francisco Film Festival partnered with the SF Parks Alliance for a pre-season screening of \u003ci>The Fog\u003c/i> at the Presidio’s Civil War Parade Ground. The rest of the summer’s movies were expected to be announced shortly afterward.\u003c/p>\n\u003cp>Some of the SF Parks Alliance’s other planned events, like a series of Park Markets at Crane Cove, were canceled before they were announced to the public.\u003c/p>\n\u003cp>Small business owners and artists who had been accepted as vendors at the upcoming July 19, Aug. 23 and Oct. 18 Park Markets were notified via email that the markets were canceled due to “budget cuts.” Doug MacNeil, who sells journals made from recycled materials under the moniker \u003ca href=\"https://www.recoveryourthoughts.com/\">Recover Your Thoughts\u003c/a>, had already sent in his table fees for two of the dates.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In the email I was told I’d be reimbursed,” MacNeil wrote to KQED. “I suppose I’ll just have to wait.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From the Juke Joint to the Museum: A Celebration of Black Cocktail Innovators",
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"content": "\u003cfigure id=\"attachment_13975561\" class=\"wp-caption alignnone\" style=\"max-width: 1958px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975561\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-scaled.jpg\" alt=\"Amber-colored cocktail with ice, garnished by a blackberry, in a sherry glass.\" width=\"1958\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-scaled.jpg 1958w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-800x1046.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-1020x1334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-768x1004.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-1175x1536.jpg 1175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-1566x2048.jpg 1566w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-1920x2510.jpg 1920w\" sizes=\"auto, (max-width: 1958px) 100vw, 1958px\">\u003cfigcaption class=\"wp-caption-text\">Toni Tipton-Martin’s take on a sherry cobbler cocktail, from her book ‘Juke Joints, Jazz Clubs & Juice.’ \u003ccite>(Brittany Conerly, courtesy of Clarkson Potter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years ago, when food journalist Toni Tipton-Martin first started researching the history of African American \u003ca href=\"https://www.kqed.org/arts/tag/cocktails\">cocktail\u003c/a> recipes, she was struck by how few books were solely dedicated to that topic. Of course Tipton-Martin, who in the ’90s became the first Black food editor for a major American daily newspaper, is probably \u003ci>best\u003c/i> known for her \u003ca href=\"https://www.americastestkitchen.com/articles/3404-toni-tipton-martin-cookbook-collection-library\">prodigious collection of African American cookbooks\u003c/a>. Those hundreds of volumes, many of them rare, inspired and informed her two prior James Beard Award–winning books, \u003ci>The Jemima Code \u003c/i>and \u003ci>Jubilee\u003c/i>, which cast a spotlight on the unsung stories of Black cooks in America.\u003c/p>\n\u003cfigure id=\"attachment_13975566\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-scaled.jpg\" alt=\"Woman in coral-colored top poses for author headshot.\" width=\"350\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\">\u003cfigcaption class=\"wp-caption-text\">Tipton-Martin was the first Black food editor at a daily newspaper in the U.S. \u003ccite>(Pableaux Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the fact remained: “There are two books published in 1917 and 1919 by male bartenders, and then mixology disappears from the pages of Black cookbooks,” Tipton-Martin explains. “It’s only recently come back with any real gusto.”\u003c/p>\n\u003cp>Tipton-Martin’s investigation into this long absence and oversight — which, no surprise, was largely tied to racism — forms the basis for her 2023 book, \u003ca href=\"https://bookshop.org/p/books/juke-joints-jazz-clubs-and-juice-a-cocktail-recipe-book-a-celebration-of-black-mixology-toni-tipton-martin/19782063?ean=9780593233825&next=t\">\u003ci>Juke Joints, Jazz Clubs & Juice\u003c/i>\u003c/a>. It is, on the one hand, a wide-spanning cocktail recipe book that features a whole kaleidoscope of juleps, rum punches and home-fermented wines inspired by recipes she found in 200 years’ worth of African American cookbooks, ranging from an \u003ca href=\"https://www.scribd.com/document/114995111/1827-House-Servant-s-Directory-by-Robert-Roberts\">1827 domestic workers’ handbook\u003c/a> to T-Pain’s compulsively readable \u003ci>Can I Mix You a Drink?\u003c/i> (the rapper-turned-singer’s 2021 book of cocktails named after his own hit songs). More than that, it’s a celebration of all the mostly untold stories of how African Americans have helped shape this country’s cocktail culture.\u003c/p>\n\u003cp>The book is also the focus of “\u003ca href=\"https://www.moadsf.org/event/diaspora-dinner-featuring-toni-tipton-martin\">A Jazzed Up Evening with Toni Tipton-Martin,\u003c/a>” a swanky May 10 dinner event at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/museum-of-the-african-diaspora\">Museum of the African Diaspora\u003c/a>. Tipton-Martin will be on hand to give a talk. \u003ca href=\"https://www.kqed.org/arts/13953773/in-praise-of-tammy-hall-bay-area-jazz-piano\">Tammy Hall\u003c/a>, the Bay Area’s own Grammy-winning jazz pianist, will perform. And, naturally, there will be an opulent spread of food and drinks inspired by recipes from both \u003ci>Juke Joints \u003c/i>and \u003ci>Jubilee\u003c/i>: a California sherry cobbler cocktail, Savannah-style pickled shrimp, string beans a la Creole and more.\u003c/p>\n\u003cp>The event is part of MoAD’s long-running “Diaspora Dinner” series, curated by chef-in-residence \u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\">Jocelyn Jackson\u003c/a>. It’s the museum’s flagship fundraising event, known for bringing some of the country’s most prominent Black scholars and chefs to San Francisco. (Recent editions have featured food historian \u003ca href=\"https://www.kqed.org/arts/13956497/moad-diaspora-dinner-high-on-the-hog-jessica-harris-sf\">Jessica B. Harris\u003c/a> and the Bay’s own \u003ca href=\"https://www.kqed.org/arts/13930013/moad-diaspora-dinner-bay-area-black-women-chefs-intergenerational-sf-bayview\">Sarah Kirnon\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately, Tipton-Martin says what she learned from her research is that there was a fairly simple explanation for why there were no Black cocktail books in the 1920s and ‘30s and on through the peak years of the civil rights movement — and it wasn’t because there weren’t talented, creative Black bartenders. Instead, what stood out to her was the stigma that was associated with alcohol consumption.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13975571\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints.jpg\" alt=\"Book cover featuring a cocktail garnished with lemon peel. The title reads, 'Juke Joints, Jazz Clubs & Juice.'\" width=\"350\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-800x1022.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-1020x1303.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-768x981.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-1203x1536.jpg 1203w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-1604x2048.jpg 1604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-1920x2452.jpg 1920w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\">“Black people were depicted in very negative and stereotyped ways in post-slavery America, in retaliation for freedom,” Tipton-Martin says. “So when Black people are portrayed in relation to spirits, they’re associated with debauchery — violent Black men, wild Black women, people wasting their money.” As a result, Black cookbook writers who wanted to prove their competence and expertise tended to avoid focusing too much on alcohol.\u003c/p>\n\u003cp>Perhaps the most prominent example of how Black drinking culture was disparaged was the public perception of \u003ca href=\"https://capitalbnews.org/sinners-blues-juke-joints-clarksdale/\">juke joints\u003c/a>, the informal (and often secretive) Black drinking establishments located on the outskirts of rural farming communities in the South. In the ads, newspaper photos, literature and films in the early 20th century, juke joints were invariably portrayed as places where irresponsible drunkards would get into knife fights and gamble away their week’s wages. But as Tipton-Martin read more about juke joints, she found that they were also places where the local Black community might hold ice cream socials or church fundraisers. They were places where you could unwind with a good hot meal and moonshine served in a jar. (One need look no further than \u003ci>Sinners\u003c/i>, Ryan Coogler’s Southern gothic masterpiece of the moment, for a \u003ca href=\"https://andscape.com/features/sinners-movie-brought-us-home-and-refused-to-let-vampires-take-it-from-us/\">vision of a juke joint\u003c/a> as a testament to the power of community, diaspora and transcendent Black art — both before and after the vampires arrive.)\u003c/p>\n\u003cfigure id=\"attachment_13975560\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire.jpg\" alt=\"Guests seated at long tables for a fancy dinner banquet. The neon sign on the wall reads, 'MoAD'.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests seated at MoAD’s 2024 Diaspora Dinner, which featured the food historian Jessica B. Harris. The dinner is the museum’s flagship fundraising event. \u003ccite>(Tinashe Chidarikire, courtesy of MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13972079,arts_13953773']\u003c/span>\u003c/span>And so, as Tipton-Martin writes in her introduction to \u003ci>Juke Joints\u003c/i>: “My ambition is to ensure that African American workers who plied their trade behind the bar are not forgotten.” The MoAD dinner, with its menu chock-full of nods to this long, too-often-ignored history of influential Black mixologists, is just another part of that mission. And when guests go home at the end of the evening, perhaps with a new recipe or two in their repertoire, her hope isn’t that they’ll tell their friends that they made a drink from Toni Tipton-Martin’s \u003ci>Juke Joints\u003c/i>. Instead, she hopes they’ll talk about Malinda’s Russell’s \u003ci>Domestic Cookbook \u003c/i>from 1866, or Julian Anderson’s 1919 compendium, \u003ci>Julian’s Recipes.\u003c/i>\u003c/p>\n\u003cp>“That’s the way we keep the ancestors’ stories alive,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>MoAD’s Toni Tipton-Martin event will be on Saturday, May 10, 6–9 p.m. at the St. Regis Hotel (125 3rd St., San Francisco). As of this posting, a limited number of \u003c/i>\u003ca href=\"https://www.moadsf.org/event/diaspora-dinner-featuring-toni-tipton-martin\">\u003ci>tickets are still available\u003c/i>\u003c/a>\u003ci> — $250 for general admission, $500 for VIP tickets.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13975561\" class=\"wp-caption alignnone\" style=\"max-width: 1958px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975561\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-scaled.jpg\" alt=\"Amber-colored cocktail with ice, garnished by a blackberry, in a sherry glass.\" width=\"1958\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-scaled.jpg 1958w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-800x1046.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-1020x1334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-768x1004.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-1175x1536.jpg 1175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-1566x2048.jpg 1566w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sherry-cobbler-1920x2510.jpg 1920w\" sizes=\"auto, (max-width: 1958px) 100vw, 1958px\">\u003cfigcaption class=\"wp-caption-text\">Toni Tipton-Martin’s take on a sherry cobbler cocktail, from her book ‘Juke Joints, Jazz Clubs & Juice.’ \u003ccite>(Brittany Conerly, courtesy of Clarkson Potter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years ago, when food journalist Toni Tipton-Martin first started researching the history of African American \u003ca href=\"https://www.kqed.org/arts/tag/cocktails\">cocktail\u003c/a> recipes, she was struck by how few books were solely dedicated to that topic. Of course Tipton-Martin, who in the ’90s became the first Black food editor for a major American daily newspaper, is probably \u003ci>best\u003c/i> known for her \u003ca href=\"https://www.americastestkitchen.com/articles/3404-toni-tipton-martin-cookbook-collection-library\">prodigious collection of African American cookbooks\u003c/a>. Those hundreds of volumes, many of them rare, inspired and informed her two prior James Beard Award–winning books, \u003ci>The Jemima Code \u003c/i>and \u003ci>Jubilee\u003c/i>, which cast a spotlight on the unsung stories of Black cooks in America.\u003c/p>\n\u003cfigure id=\"attachment_13975566\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-scaled.jpg\" alt=\"Woman in coral-colored top poses for author headshot.\" width=\"350\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Toni-Tipton-Martin_Pableaux-Johnson-1-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\">\u003cfigcaption class=\"wp-caption-text\">Tipton-Martin was the first Black food editor at a daily newspaper in the U.S. \u003ccite>(Pableaux Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the fact remained: “There are two books published in 1917 and 1919 by male bartenders, and then mixology disappears from the pages of Black cookbooks,” Tipton-Martin explains. “It’s only recently come back with any real gusto.”\u003c/p>\n\u003cp>Tipton-Martin’s investigation into this long absence and oversight — which, no surprise, was largely tied to racism — forms the basis for her 2023 book, \u003ca href=\"https://bookshop.org/p/books/juke-joints-jazz-clubs-and-juice-a-cocktail-recipe-book-a-celebration-of-black-mixology-toni-tipton-martin/19782063?ean=9780593233825&next=t\">\u003ci>Juke Joints, Jazz Clubs & Juice\u003c/i>\u003c/a>. It is, on the one hand, a wide-spanning cocktail recipe book that features a whole kaleidoscope of juleps, rum punches and home-fermented wines inspired by recipes she found in 200 years’ worth of African American cookbooks, ranging from an \u003ca href=\"https://www.scribd.com/document/114995111/1827-House-Servant-s-Directory-by-Robert-Roberts\">1827 domestic workers’ handbook\u003c/a> to T-Pain’s compulsively readable \u003ci>Can I Mix You a Drink?\u003c/i> (the rapper-turned-singer’s 2021 book of cocktails named after his own hit songs). More than that, it’s a celebration of all the mostly untold stories of how African Americans have helped shape this country’s cocktail culture.\u003c/p>\n\u003cp>The book is also the focus of “\u003ca href=\"https://www.moadsf.org/event/diaspora-dinner-featuring-toni-tipton-martin\">A Jazzed Up Evening with Toni Tipton-Martin,\u003c/a>” a swanky May 10 dinner event at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/museum-of-the-african-diaspora\">Museum of the African Diaspora\u003c/a>. Tipton-Martin will be on hand to give a talk. \u003ca href=\"https://www.kqed.org/arts/13953773/in-praise-of-tammy-hall-bay-area-jazz-piano\">Tammy Hall\u003c/a>, the Bay Area’s own Grammy-winning jazz pianist, will perform. And, naturally, there will be an opulent spread of food and drinks inspired by recipes from both \u003ci>Juke Joints \u003c/i>and \u003ci>Jubilee\u003c/i>: a California sherry cobbler cocktail, Savannah-style pickled shrimp, string beans a la Creole and more.\u003c/p>\n\u003cp>The event is part of MoAD’s long-running “Diaspora Dinner” series, curated by chef-in-residence \u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\">Jocelyn Jackson\u003c/a>. It’s the museum’s flagship fundraising event, known for bringing some of the country’s most prominent Black scholars and chefs to San Francisco. (Recent editions have featured food historian \u003ca href=\"https://www.kqed.org/arts/13956497/moad-diaspora-dinner-high-on-the-hog-jessica-harris-sf\">Jessica B. Harris\u003c/a> and the Bay’s own \u003ca href=\"https://www.kqed.org/arts/13930013/moad-diaspora-dinner-bay-area-black-women-chefs-intergenerational-sf-bayview\">Sarah Kirnon\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, Tipton-Martin says what she learned from her research is that there was a fairly simple explanation for why there were no Black cocktail books in the 1920s and ‘30s and on through the peak years of the civil rights movement — and it wasn’t because there weren’t talented, creative Black bartenders. Instead, what stood out to her was the stigma that was associated with alcohol consumption.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13975571\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints.jpg\" alt=\"Book cover featuring a cocktail garnished with lemon peel. The title reads, 'Juke Joints, Jazz Clubs & Juice.'\" width=\"350\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-800x1022.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-1020x1303.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-768x981.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-1203x1536.jpg 1203w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-1604x2048.jpg 1604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/COVER-Juke-Joints-1920x2452.jpg 1920w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\">“Black people were depicted in very negative and stereotyped ways in post-slavery America, in retaliation for freedom,” Tipton-Martin says. “So when Black people are portrayed in relation to spirits, they’re associated with debauchery — violent Black men, wild Black women, people wasting their money.” As a result, Black cookbook writers who wanted to prove their competence and expertise tended to avoid focusing too much on alcohol.\u003c/p>\n\u003cp>Perhaps the most prominent example of how Black drinking culture was disparaged was the public perception of \u003ca href=\"https://capitalbnews.org/sinners-blues-juke-joints-clarksdale/\">juke joints\u003c/a>, the informal (and often secretive) Black drinking establishments located on the outskirts of rural farming communities in the South. In the ads, newspaper photos, literature and films in the early 20th century, juke joints were invariably portrayed as places where irresponsible drunkards would get into knife fights and gamble away their week’s wages. But as Tipton-Martin read more about juke joints, she found that they were also places where the local Black community might hold ice cream socials or church fundraisers. They were places where you could unwind with a good hot meal and moonshine served in a jar. (One need look no further than \u003ci>Sinners\u003c/i>, Ryan Coogler’s Southern gothic masterpiece of the moment, for a \u003ca href=\"https://andscape.com/features/sinners-movie-brought-us-home-and-refused-to-let-vampires-take-it-from-us/\">vision of a juke joint\u003c/a> as a testament to the power of community, diaspora and transcendent Black art — both before and after the vampires arrive.)\u003c/p>\n\u003cfigure id=\"attachment_13975560\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire.jpg\" alt=\"Guests seated at long tables for a fancy dinner banquet. The neon sign on the wall reads, 'MoAD'.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2024-5-4_Diaspora-Dinner_67_tinashe_chidarikire-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests seated at MoAD’s 2024 Diaspora Dinner, which featured the food historian Jessica B. Harris. The dinner is the museum’s flagship fundraising event. \u003ccite>(Tinashe Chidarikire, courtesy of MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>And so, as Tipton-Martin writes in her introduction to \u003ci>Juke Joints\u003c/i>: “My ambition is to ensure that African American workers who plied their trade behind the bar are not forgotten.” The MoAD dinner, with its menu chock-full of nods to this long, too-often-ignored history of influential Black mixologists, is just another part of that mission. And when guests go home at the end of the evening, perhaps with a new recipe or two in their repertoire, her hope isn’t that they’ll tell their friends that they made a drink from Toni Tipton-Martin’s \u003ci>Juke Joints\u003c/i>. Instead, she hopes they’ll talk about Malinda’s Russell’s \u003ci>Domestic Cookbook \u003c/i>from 1866, or Julian Anderson’s 1919 compendium, \u003ci>Julian’s Recipes.\u003c/i>\u003c/p>\n\u003cp>“That’s the way we keep the ancestors’ stories alive,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>MoAD’s Toni Tipton-Martin event will be on Saturday, May 10, 6–9 p.m. at the St. Regis Hotel (125 3rd St., San Francisco). As of this posting, a limited number of \u003c/i>\u003ca href=\"https://www.moadsf.org/event/diaspora-dinner-featuring-toni-tipton-martin\">\u003ci>tickets are still available\u003c/i>\u003c/a>\u003ci> — $250 for general admission, $500 for VIP tickets.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Union Square Ramen Shop Slings Pure Ocean Umami Until 3:30 a.m.",
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"content": "\u003cfigure id=\"attachment_13975312\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1.jpg\" alt=\"Illustration: two men slurp bowls of ramen inside a crowded restaurant.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hinodeya Ramen’s Union Square location is known for its late hours and its seafood-based dashi broth. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>At 11 o’clock on a recent Friday night, the busiest restaurant in Union Square wasn’t a pizza joint or all-night diner, but instead a tiny ramen shop specializing in a relatively undersung, niche soup style. That about sums up \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> food culture in a nutshell.\u003c/p>\n\u003cp>The noodle shop in question is \u003ca href=\"https://hinodeyaramen.com/\">Hinodeya Ramen\u003c/a>, which first brought its vaunted dashi ramen to San Francisco from Japan’s \u003ca href=\"https://tabelog.com/en/saitama/A1104/A110402/11030891/\">Saitama prefecture\u003c/a> in \u003ca href=\"https://sf.eater.com/2016/11/15/13644518/hinodeya-dashi-ramen-japantown-san-francisco\">2016\u003c/a>. Its owners made the bold move of opening a new late-night Union Square outpost in 2022 — in the thick of the pandemic, when the vibes downtown were perhaps at their \u003ca href=\"https://www.sfchronicle.com/sf/article/sf-union-square-alliance-17321368.php\">lowest point\u003c/a>. It’s one of just a small handful of restaurants in the neighborhood that are open past midnight. In fact, on weekends you can still get a bowl of steaming-hot ramen as late as 3:30 a.m.\u003c/p>\n\u003cp>Of course thousands of words have been written about downtown San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13939383/downtown-san-francisco-doom-spiral-sucka-flea-market-holiday-spirit\">retail apocalypse\u003c/a> and the slow-simmering \u003ca href=\"https://www.sfchronicle.com/sf/article/union-square-macys-18693950.php?utm_content=hed&sid=616ef88e1a685b526a1e6649&ss=A&st_rid=661447bf-9cf8-473c-87cb-db1dea567b1c&utm_source=newsletter&utm_medium=email&utm_term=headlines&utm_campaign=sfc_morningfix\">demise of Union Square\u003c/a>. But at least within the tight, noisy confines of this pint-sized ramen restaurant, you would never guess any of that. During the entirety of our visit, the dining room was filled to capacity — more than 30 ramen eaters crammed practically shoulder to shoulder — with what looked to be an equal mix of SF locals and tourists. At the table next to us: a smiley college-age Latino couple on a date. A few tables down: a big, multi-generational Asian American family, including an 80-plus-year-old grandma with her face mask pulled down for ease of slurping.\u003c/p>\n\u003cp>Our server told us they get one big rush of customers from around 10 p.m. to midnight, and then another at 2 a.m., when the bars let out. Everyone seemed to be having a good time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You may have heard that in Japan, ramen is considered fast food, which isn’t a statement on quality but a matter of pure speed and accessibility. Hinodeya stays true to that spirit: Even though there were five or six parties ahead of us in line when we first stepped through the restaurant’s curtained doorway at a little past 10 o’clock, we were seated within minutes. The food also came out in a flash, just minutes after I buzzed in our QR code orders on my phone.\u003c/p>\n\u003cfigure id=\"attachment_13975314\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975314\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2.jpg\" alt='Illustration: Exterior of a ramen restaurant at night. The sign reads \"Hinodeya Ramen Bar.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Open since 2022, the Union Square shop is open until 3:30 a.m. on weekends. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In comparison to other top ramen shops, the noodles, chashu, soft-boiled egg and other toppings at Hinodeya are all perfectly adequate. But the shop’s be-all end-all is its dashi broth — especially for ramen enthusiasts tired of the thick, creamy, extra fatty tonkotsu style that’s so pervasive in the Bay Area. Instead of just boiling bones to smithereens, the basis of Hinodeya’s standard house ramen is a relatively light, clear soup that’s all balance and nuance, oriented around the umami of the sea: kombu, bonito flakes and scallop bouillon. The dried scallop, in particular, gives the broth an incredible depth of oceanic flavor, and a touch of pork fat adds just the right amount of luxurious richness.\u003c/p>\n\u003cp>The dashi broth is low-key one of my favorite ramen broths in the Bay; it’s the kind of soup I could slurp down once or twice a week without ever getting tired of it. It feels frankly preposterous to have access to something this good, served this quickly, at 2 or 3 in the morning — right smack in the middle of Union Square, no less.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13974383,arts_13973430,arts_13972197']\u003c/span>\u003c/span>Hinodeya also offers a bunch of special ramens, available in limited quantities, like a sukiyaki beef ramen and a ramen topped with fried pork cutlet. And so the other nice thing about the Union Square shop is that, at least during our visit, all of the specials were still available even at 11 p.m. In keeping with the ocean umami theme, we went with the shop’s other signature dish, the hamaguri ramen, which comes topped with a couple dozen sweet littleneck clams in their shells. Here, Hinodeya’s standard dashi soup gets doctored up with a hit of fresh garlic and, of course, all of the clams’ briny juices. This is the ramen for you if you’re a linguine alle vongole lover — if your favorite part of an order of steamed Quahogs is sipping the clam liquor at the bottom of the bowl.\u003c/p>\n\u003cp>The non-ramen dishes at Hinodeya are equally well calibrated for late-night enjoyment, like the juicy, crisp-bottomed gyoza, which come with a side of salty concentrated dashi broth — the ideal dipping sauce, it turns out. If you’re feeling extra hungry, you can finish off the meal with a big ol’ bowl of rice. We opted for the gyudon, a hearty rice bowl that comes topped with thin slices of tender, soy-sauce-simmered beef and a runny-yolked poached egg. But plain white rice would also hit the spot, especially for \u003ca href=\"https://jewidiarta.medium.com/tetsu-kariya-akira-hanasaki-oishinbo-a-la-carte-ramen-gyoza-f69d4bb812e3\">connoisseurs who know the pleasures\u003c/a> of using rice to soak up the last dregs of your leftover ramen broth.\u003c/p>\n\u003cp>We saved just enough room for one last, not-too-sweet bite for dessert: a little square bowl of jello-like matcha pudding topped with a dollop of whipped cream. And just like that, about an hour after we sat down, even having taken our time, we were back out on the street, our bellies full, the taste of the ocean on our tongues. Up above us, the glittering lights of the big Union Square hotels shined just as brightly as they ever did.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Hinodeya Ramen’s \u003c/i>\u003ca href=\"https://hinodeya-unionsquare.square.site/\">\u003ci>Union Square location\u003c/i>\u003c/a>\u003ci> is open 10 a.m.–3:30 a.m. Fridays and Saturdays and 10 a.m.–1:30 p.m. the rest of the week at 219 O’Farrell St. in San Francisco. The restaurant also has locations in Japantown, the Financial District, Newark and San Jose.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13975312\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1.jpg\" alt=\"Illustration: two men slurp bowls of ramen inside a crowded restaurant.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hinodeya Ramen’s Union Square location is known for its late hours and its seafood-based dashi broth. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>At 11 o’clock on a recent Friday night, the busiest restaurant in Union Square wasn’t a pizza joint or all-night diner, but instead a tiny ramen shop specializing in a relatively undersung, niche soup style. That about sums up \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> food culture in a nutshell.\u003c/p>\n\u003cp>The noodle shop in question is \u003ca href=\"https://hinodeyaramen.com/\">Hinodeya Ramen\u003c/a>, which first brought its vaunted dashi ramen to San Francisco from Japan’s \u003ca href=\"https://tabelog.com/en/saitama/A1104/A110402/11030891/\">Saitama prefecture\u003c/a> in \u003ca href=\"https://sf.eater.com/2016/11/15/13644518/hinodeya-dashi-ramen-japantown-san-francisco\">2016\u003c/a>. Its owners made the bold move of opening a new late-night Union Square outpost in 2022 — in the thick of the pandemic, when the vibes downtown were perhaps at their \u003ca href=\"https://www.sfchronicle.com/sf/article/sf-union-square-alliance-17321368.php\">lowest point\u003c/a>. It’s one of just a small handful of restaurants in the neighborhood that are open past midnight. In fact, on weekends you can still get a bowl of steaming-hot ramen as late as 3:30 a.m.\u003c/p>\n\u003cp>Of course thousands of words have been written about downtown San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13939383/downtown-san-francisco-doom-spiral-sucka-flea-market-holiday-spirit\">retail apocalypse\u003c/a> and the slow-simmering \u003ca href=\"https://www.sfchronicle.com/sf/article/union-square-macys-18693950.php?utm_content=hed&sid=616ef88e1a685b526a1e6649&ss=A&st_rid=661447bf-9cf8-473c-87cb-db1dea567b1c&utm_source=newsletter&utm_medium=email&utm_term=headlines&utm_campaign=sfc_morningfix\">demise of Union Square\u003c/a>. But at least within the tight, noisy confines of this pint-sized ramen restaurant, you would never guess any of that. During the entirety of our visit, the dining room was filled to capacity — more than 30 ramen eaters crammed practically shoulder to shoulder — with what looked to be an equal mix of SF locals and tourists. At the table next to us: a smiley college-age Latino couple on a date. A few tables down: a big, multi-generational Asian American family, including an 80-plus-year-old grandma with her face mask pulled down for ease of slurping.\u003c/p>\n\u003cp>Our server told us they get one big rush of customers from around 10 p.m. to midnight, and then another at 2 a.m., when the bars let out. Everyone seemed to be having a good time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You may have heard that in Japan, ramen is considered fast food, which isn’t a statement on quality but a matter of pure speed and accessibility. Hinodeya stays true to that spirit: Even though there were five or six parties ahead of us in line when we first stepped through the restaurant’s curtained doorway at a little past 10 o’clock, we were seated within minutes. The food also came out in a flash, just minutes after I buzzed in our QR code orders on my phone.\u003c/p>\n\u003cfigure id=\"attachment_13975314\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975314\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2.jpg\" alt='Illustration: Exterior of a ramen restaurant at night. The sign reads \"Hinodeya Ramen Bar.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/hinodeya2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Open since 2022, the Union Square shop is open until 3:30 a.m. on weekends. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In comparison to other top ramen shops, the noodles, chashu, soft-boiled egg and other toppings at Hinodeya are all perfectly adequate. But the shop’s be-all end-all is its dashi broth — especially for ramen enthusiasts tired of the thick, creamy, extra fatty tonkotsu style that’s so pervasive in the Bay Area. Instead of just boiling bones to smithereens, the basis of Hinodeya’s standard house ramen is a relatively light, clear soup that’s all balance and nuance, oriented around the umami of the sea: kombu, bonito flakes and scallop bouillon. The dried scallop, in particular, gives the broth an incredible depth of oceanic flavor, and a touch of pork fat adds just the right amount of luxurious richness.\u003c/p>\n\u003cp>The dashi broth is low-key one of my favorite ramen broths in the Bay; it’s the kind of soup I could slurp down once or twice a week without ever getting tired of it. It feels frankly preposterous to have access to something this good, served this quickly, at 2 or 3 in the morning — right smack in the middle of Union Square, no less.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Hinodeya also offers a bunch of special ramens, available in limited quantities, like a sukiyaki beef ramen and a ramen topped with fried pork cutlet. And so the other nice thing about the Union Square shop is that, at least during our visit, all of the specials were still available even at 11 p.m. In keeping with the ocean umami theme, we went with the shop’s other signature dish, the hamaguri ramen, which comes topped with a couple dozen sweet littleneck clams in their shells. Here, Hinodeya’s standard dashi soup gets doctored up with a hit of fresh garlic and, of course, all of the clams’ briny juices. This is the ramen for you if you’re a linguine alle vongole lover — if your favorite part of an order of steamed Quahogs is sipping the clam liquor at the bottom of the bowl.\u003c/p>\n\u003cp>The non-ramen dishes at Hinodeya are equally well calibrated for late-night enjoyment, like the juicy, crisp-bottomed gyoza, which come with a side of salty concentrated dashi broth — the ideal dipping sauce, it turns out. If you’re feeling extra hungry, you can finish off the meal with a big ol’ bowl of rice. We opted for the gyudon, a hearty rice bowl that comes topped with thin slices of tender, soy-sauce-simmered beef and a runny-yolked poached egg. But plain white rice would also hit the spot, especially for \u003ca href=\"https://jewidiarta.medium.com/tetsu-kariya-akira-hanasaki-oishinbo-a-la-carte-ramen-gyoza-f69d4bb812e3\">connoisseurs who know the pleasures\u003c/a> of using rice to soak up the last dregs of your leftover ramen broth.\u003c/p>\n\u003cp>We saved just enough room for one last, not-too-sweet bite for dessert: a little square bowl of jello-like matcha pudding topped with a dollop of whipped cream. And just like that, about an hour after we sat down, even having taken our time, we were back out on the street, our bellies full, the taste of the ocean on our tongues. Up above us, the glittering lights of the big Union Square hotels shined just as brightly as they ever did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Hinodeya Ramen’s \u003c/i>\u003ca href=\"https://hinodeya-unionsquare.square.site/\">\u003ci>Union Square location\u003c/i>\u003c/a>\u003ci> is open 10 a.m.–3:30 a.m. Fridays and Saturdays and 10 a.m.–1:30 p.m. the rest of the week at 219 O’Farrell St. in San Francisco. The restaurant also has locations in Japantown, the Financial District, Newark and San Jose.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The clock is ticking for \u003ca href=\"https://www.kqed.org/arts/13975081/art-school-degrees-bay-area-closures\">student artists\u003c/a> in San Francisco to submit their work for a major \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> art show held in May and June.\u003c/p>\n\u003cp>For the past two weeks, the \u003ca href=\"https://drawingroominc.org/\">Drawing Room Annex\u003c/a> at 599 Valencia Street has been accepting submissions for its second-ever \u003cem>High School Art Show\u003c/em> in San Francisco. The deadline for submissions is this Sunday, April 27, at 6 p.m. Those unable to deliver art in person may also do so online via \u003ca href=\"https://drawingroominc.org/pages/the-high-school-art-show-2025?mc_cid=08997340b7&mc_eid=9f3df90253\">the Annex’s website\u003c/a>. The theme of the show is \u003cem>We Are/I Am: Art and Identity\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13972197']“We encourage students to submit a piece of work that best represents them,” the Annex states on its submissions page. “We have a very large space to fill with visual art, as well as space to host live performances in music and poetry/spoken word. We want people to see, hear and experience what you are creating!”\u003c/p>\n\u003cp>Photography, video and digital artworks are being accepted, in addition to more traditional formats like painting and sculpture. Members of the gallery will also be on hand to assist students with matting, framing and other art prep. Artists are asked to submit one piece of art only.\u003c/p>\n\u003cp>The Drawing Room Annex’s previous \u003cem>High School Art Show\u003c/em> took place in 2022, and exhibited the work of over 350 students from over 20 San Francisco schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LJBc3Ic7mmo\u003c/p>\n\u003cp>This year’s opening reception will take place on May 3 from 4-9 p.m., and the exhibition will run through June 15, 2025.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Annex emphasizes to students: “We want to share this space with you and provide an opportunity to for you to show your artwork and creativity. This exhibition will demonstrate the importance of art in our daily lives and its critical role for teenagers — especially now.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The clock is ticking for \u003ca href=\"https://www.kqed.org/arts/13975081/art-school-degrees-bay-area-closures\">student artists\u003c/a> in San Francisco to submit their work for a major \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> art show held in May and June.\u003c/p>\n\u003cp>For the past two weeks, the \u003ca href=\"https://drawingroominc.org/\">Drawing Room Annex\u003c/a> at 599 Valencia Street has been accepting submissions for its second-ever \u003cem>High School Art Show\u003c/em> in San Francisco. The deadline for submissions is this Sunday, April 27, at 6 p.m. Those unable to deliver art in person may also do so online via \u003ca href=\"https://drawingroominc.org/pages/the-high-school-art-show-2025?mc_cid=08997340b7&mc_eid=9f3df90253\">the Annex’s website\u003c/a>. The theme of the show is \u003cem>We Are/I Am: Art and Identity\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We encourage students to submit a piece of work that best represents them,” the Annex states on its submissions page. “We have a very large space to fill with visual art, as well as space to host live performances in music and poetry/spoken word. We want people to see, hear and experience what you are creating!”\u003c/p>\n\u003cp>Photography, video and digital artworks are being accepted, in addition to more traditional formats like painting and sculpture. Members of the gallery will also be on hand to assist students with matting, framing and other art prep. Artists are asked to submit one piece of art only.\u003c/p>\n\u003cp>The Drawing Room Annex’s previous \u003cem>High School Art Show\u003c/em> took place in 2022, and exhibited the work of over 350 students from over 20 San Francisco schools.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13974668\" class=\"wp-caption aligncenter\" style=\"max-width: 1457px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell.png\" alt=\"A yellow book cover featuring an illustration of a man wearing glasses with his arms raised in despair, full of knots.\" width=\"1457\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell.png 1457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell-800x1098.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell-1020x1400.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell-160x220.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell-768x1054.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell-1119x1536.png 1119w\" sizes=\"auto, (max-width: 1457px) 100vw, 1457px\">\u003cfigcaption class=\"wp-caption-text\">‘We All Got Something’ by Lawrence Lindell. \u003ccite>(Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, Lawrence Lindell’s new graphic novel \u003cem>We All Got Something\u003c/em> is about \u003ca href=\"https://www.kqed.org/news/tag/mental-health\">mental health\u003c/a>, trauma and feeling perpetually misunderstood.\u003c/p>\n\u003cp>[aside postid='arts_13972135']By the end of the book’s 170 pages, however, you realize this is ultimately a story about grace. The importance of offering grace to those around us, even when they don’t always deserve it. Giving grace to ourselves when we’re in the process of healing. And the deep and lasting difference grace can make when we’re on the receiving end of it.\u003c/p>\n\u003cp>\u003cem>We All Got Something\u003c/em> walks us through Lindell’s recovery process after a series of terrible events befell him: a painful breakup, a random act of violence, a failed attempt to relocate overseas. The story begins with his struggle to get back in step with his old life in Compton — with his art, his music, his family and his own mind.\u003c/p>\n\u003cp>At times, Lindell’s sense of isolation is so palpable, the pages with zero dialogue feel louder and more claustrophobic than those with words.\u003c/p>\n\u003cfigure id=\"attachment_13974671\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/brotha-lawrence-scaled-e1744762432528.jpg\" alt=\"Black and white comic book panels convey a young man's embarassment at being called on in church by his pastor, while the congregation watches on.\" width=\"1920\" height=\"1188\">\u003cfigcaption class=\"wp-caption-text\">A moment of creeping self-consciousness in ‘We All Got Something’ by Lawrence Lindell. \u003ccite>(Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this, Lindell’s second graphic novel for Canadian comic company \u003ca href=\"https://drawnandquarterly.com/\">Drawn & Quarterly\u003c/a>, the now–San Francisco-based cartoonist has crafted a story that consistently succeeds in stirring big emotions. Heartbreak, giddiness, despair and hope all leap off the page, despite the book’s black-and-white format and casual illustration style. In Lindell’s hands, even the simplest of illustrated text exchanges can convey a gut punch. That’s a testament to how effectively he imbues his work with vulnerability and honesty — even when doing so doesn’t present himself in the most flattering light.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>We All Got Something\u003c/em> is relatable for any artist who has ever questioned their creative path, any creator under pressure to quit, and any misfit who’s struggled to find their place in the world. San Francisco doesn’t appear until three-quarters of the way through, but once it’s there — specifically at \u003ca href=\"https://www.kqed.org/arts/13921425/bay-area-queer-zine-fest-comics-diy-2022\">SF Zine Fest\u003c/a> — we see Lindell turn a corner and find his light again. When the title of the book finally shows up in the text, butterflies are all but inevitable.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://drawnandquarterly.com/books/we-all-got-something/\">‘We All Got Something’ by Lawrence Lindell\u003c/a> is out April 29, 2025, via Drawn & Quarterly.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By the end of the book’s 170 pages, however, you realize this is ultimately a story about grace. The importance of offering grace to those around us, even when they don’t always deserve it. Giving grace to ourselves when we’re in the process of healing. And the deep and lasting difference grace can make when we’re on the receiving end of it.\u003c/p>\n\u003cp>\u003cem>We All Got Something\u003c/em> walks us through Lindell’s recovery process after a series of terrible events befell him: a painful breakup, a random act of violence, a failed attempt to relocate overseas. The story begins with his struggle to get back in step with his old life in Compton — with his art, his music, his family and his own mind.\u003c/p>\n\u003cp>At times, Lindell’s sense of isolation is so palpable, the pages with zero dialogue feel louder and more claustrophobic than those with words.\u003c/p>\n\u003cfigure id=\"attachment_13974671\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/brotha-lawrence-scaled-e1744762432528.jpg\" alt=\"Black and white comic book panels convey a young man's embarassment at being called on in church by his pastor, while the congregation watches on.\" width=\"1920\" height=\"1188\">\u003cfigcaption class=\"wp-caption-text\">A moment of creeping self-consciousness in ‘We All Got Something’ by Lawrence Lindell. \u003ccite>(Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this, Lindell’s second graphic novel for Canadian comic company \u003ca href=\"https://drawnandquarterly.com/\">Drawn & Quarterly\u003c/a>, the now–San Francisco-based cartoonist has crafted a story that consistently succeeds in stirring big emotions. Heartbreak, giddiness, despair and hope all leap off the page, despite the book’s black-and-white format and casual illustration style. In Lindell’s hands, even the simplest of illustrated text exchanges can convey a gut punch. That’s a testament to how effectively he imbues his work with vulnerability and honesty — even when doing so doesn’t present himself in the most flattering light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Dregs One\u003c/a> finally met \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> face-to-face this past February, during NBA All-Star weekend in San Francisco, the two weren’t exactly strangers. Short, of course, is a Bay Area rap icon, now 22 albums deep in the game — and he’d definitely noticed Dregs’ work to tell the stories of the region’s hip-hop producers, graffiti artists and rap pioneers on his \u003cem>\u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">History of the Bay\u003c/a>\u003c/em> podcast.\u003c/p>\n\u003cp>It was only fitting, then, that Too Short be the guest on the landmark 100th episode of \u003cem>History of the Bay\u003c/em> — an appearance that Dregs tells KQED has been a longtime goal. Short’s been “very supportive since the beginning, in terms of commenting, sharing and engaging on social media,” allowing for what’s usually an hour- or hour-and-a-half-long conversation on the podcast to last for more than two hours.\u003c/p>\n\u003cp>[aside postID='arts_13916721']It’s the culmination of a long road for \u003cem>History of the Bay\u003c/em>, which began in early 2022 as short TikToks. Onscreen, Dregs would summarize entire careers or scenes in in 60 seconds or less. (The first two? Graffiti spot Psycho City and Tupac Shakur.) Some blew up with as many as half a million views, and six months later, the podcast was born — a way to stretch out beyond TikTok’s time limitations and hear from the artists themselves.\u003c/p>\n\u003cp>Now, Dregs is expanding yet again. Episode No. 101 will feature actor Danny Glover, and Dregs wants to host more actors, activists, journalists and musicians of different genres on \u003cem>History of the Bay\u003c/em>.\u003c/p>\n\u003cp>“I’d actually be interested in like, regular people. School teachers!” Dregs says. “I want to get this podcast to where it doesn’t really matter who I have on, the audience is strong enough to trust me to know that whatever story gets told will be interesting.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13973907']It’s also been a time of literal expansion for the podcast, which recently moved to the office of record label EMPIRE, whose sponsorship comes with a small production team, including videographer Trevor Potter and production manager Jazmin Ontiveros. Having the support of EMPIRE’s CEO Ghazi Shami “really means a lot to me,” Dregs says. “This culture is important to him.”\u003c/p>\n\u003cp>And while reporting on said culture can involve egos, beef and grudges, Dregs has enough street knowledge to sidestep them (“it’s really served me well by going out of my way to not be messy,” he says). He intersperses interviews of rappers like Philthy Rich, Messy Marv and LaRussell with graphic designers like \u003ca href=\"https://www.youtube.com/watch?v=ZErUFFA8SR0\">Shemp\u003c/a> or personal injury billboard queen \u003ca href=\"https://www.youtube.com/watch?v=xc531VHZUN4\">Anh Phoong\u003c/a>. And, for October, he’s already planning a return of the \u003ca href=\"https://www.kqed.org/arts/13931387/photos-history-of-the-bay-day-party-dregs-one-review\">\u003cem>History of the Bay\u003c/em> live event\u003c/a> at the Midway in San Francisco.\u003c/p>\n\u003cp>As for what the podcast might look like another 100 episodes from now, Dregs says he just wants to continue pushing Bay Area culture to an international audience, “so they learn about the Bay and start appreciating it more.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘History of the Bay’ drops new episodes weekly, and can be found on \u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">podcast platforms\u003c/a> and \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">YouTube\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s also been a time of literal expansion for the podcast, which recently moved to the office of record label EMPIRE, whose sponsorship comes with a small production team, including videographer Trevor Potter and production manager Jazmin Ontiveros. Having the support of EMPIRE’s CEO Ghazi Shami “really means a lot to me,” Dregs says. “This culture is important to him.”\u003c/p>\n\u003cp>And while reporting on said culture can involve egos, beef and grudges, Dregs has enough street knowledge to sidestep them (“it’s really served me well by going out of my way to not be messy,” he says). He intersperses interviews of rappers like Philthy Rich, Messy Marv and LaRussell with graphic designers like \u003ca href=\"https://www.youtube.com/watch?v=ZErUFFA8SR0\">Shemp\u003c/a> or personal injury billboard queen \u003ca href=\"https://www.youtube.com/watch?v=xc531VHZUN4\">Anh Phoong\u003c/a>. And, for October, he’s already planning a return of the \u003ca href=\"https://www.kqed.org/arts/13931387/photos-history-of-the-bay-day-party-dregs-one-review\">\u003cem>History of the Bay\u003c/em> live event\u003c/a> at the Midway in San Francisco.\u003c/p>\n\u003cp>As for what the podcast might look like another 100 episodes from now, Dregs says he just wants to continue pushing Bay Area culture to an international audience, “so they learn about the Bay and start appreciating it more.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘History of the Bay’ drops new episodes weekly, and can be found on \u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">podcast platforms\u003c/a> and \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">YouTube\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a press conference on Friday with \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> Mayor Daniel Lurie, the first-ever recipients of \u003ca href=\"https://www.kqed.org/arts/13967182/svane-family-foundation-culture-forward-grant\">Culture Forward grants\u003c/a> were announced.\u003c/p>\n\u003cp>Funded by the Svane Family Foundation and meant to revitalize the city’s downtown, the Culture Forward initiative plans to award $5 million over the next three years to artists and organizations for creative projects that can attract “students, young professionals and families” to the city core.\u003c/p>\n\u003cp>While the grants are open to applicants outside of the Bay Area, the first cohort of grant recipients are all local.\u003c/p>\n\u003cfigure id=\"attachment_13974860\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd gathers at Unity Fest, a celebration of queer skateboarding, in October 2024. \u003ccite>(Courtesy Unity Press & Skateboarding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The initial recipients and their projects are:\u003c/p>\n\u003cp>\u003cstrong>Chinese Culture Foundation of San Francisco\u003c/strong>: $50,000 for a street festival along Chinatown’s Grant Avenue with large-scale installations and performances, celebrating the Chinese Culture Center’s 60th anniversary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>City Arts & Lectures\u003c/strong>: $25,000 for a salon series featuring live conversations with artists and thinkers, and interactivity with the audience.\u003c/p>\n\u003cp>\u003cstrong>Jeffrey Cheung / Unity Press & Skateboarding\u003c/strong>: $100,000 for a celebration of queer, trans and BIPOC communities through art, skateboarding and music events in downtown venues and public spaces.\u003c/p>\n\u003cp>\u003cstrong>Market Street Arts / Mid-Market Foundation\u003c/strong>: $75,000 for the return of \u003cem>UNSTAGED – Live on Mid-Market\u003c/em>, a festival including performance, public art and live events.\u003c/p>\n\u003cp>[aside postID='arts_13974119']\u003cstrong>SFFILM\u003c/strong>: $50,000 for a series of 12 film events for students, educators and families at SFMOMA with filmmaker Q&As and screenings.\u003c/p>\n\u003cp>\u003cstrong>SFJAZZ\u003c/strong>: $50,000 for a series of community-focused jazz events combining live music, visual art, food and local markets.\u003c/p>\n\u003cp>\u003cstrong>SOMArts Cultural Center\u003c/strong>: $25,000 for a workshop series focused on LGBTQ+ culture culminating in an all-ages fashion show and community Vogue Ball in SoMa.\u003c/p>\n\u003cp>\u003cstrong>Tenderloin Museum\u003c/strong>: $50,000 for the museum’s 10-year anniversary programming, a year-long celebration with storytelling and multidisciplinary events highlighting the neighborhood’s legacy.\u003c/p>\n\u003cp>\u003cstrong>David Wilson\u003c/strong>: $25,000 for a participatory art installation using site-specific painting, sound and maps to take participants on a journey across downtown, accompanied by an exhibition and event series.\u003c/p>\n\u003cp>\u003cstrong>Yerba Buena Gardens Festival\u003c/strong>: $75,000 for the return of the Children’s Gardens Series, a family series with 22 free outdoor performances of dance, theater and music.\u003c/p>\n\u003cfigure id=\"attachment_13974858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performance at the Yerba Buena Gardens Festival, a recipient of this year’s Culture Forward grant. \u003ccite>(Courtesy Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As mayor, my job is to make downtown clean and safe, and create the conditions for people to want to return. I believe a thriving arts and culture scene is crucial to that work,” Mayor Lurie said in a statement.\u003c/p>\n\u003cp>Joining Mayor Lurie were former Zendesk CEO Mikkel Svane and Ella Svane of the Svane Family Foundation, along with program consultant lead Kelsey Issel. The Svane Family Foundation has previously supported Bay Area artists with $10,000 grants during the pandemic, as well as a $1 million gift to the Fine Arts Museums of San Francisco to acquire 42 works by Bay Area artists from historically underrepresented backgrounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Future Culture Forward recipients will be eligible for amounts ranging from $10,000–$100,000 for projects in the Financial District, SoMa, the Tenderloin, Civic Center, Mid-Market, Union Square, Tenderloin, Chinatown and Mission Bay. Applications, reviewed on a rolling basis, are available on \u003ca href=\"https://svanefamilyfoundation.submittable.com/submit\">the Culture Forward site\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The grants, totaling $525,000, will fund projects and performances to revitalize the city's downtown.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a press conference on Friday with \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> Mayor Daniel Lurie, the first-ever recipients of \u003ca href=\"https://www.kqed.org/arts/13967182/svane-family-foundation-culture-forward-grant\">Culture Forward grants\u003c/a> were announced.\u003c/p>\n\u003cp>Funded by the Svane Family Foundation and meant to revitalize the city’s downtown, the Culture Forward initiative plans to award $5 million over the next three years to artists and organizations for creative projects that can attract “students, young professionals and families” to the city core.\u003c/p>\n\u003cp>While the grants are open to applicants outside of the Bay Area, the first cohort of grant recipients are all local.\u003c/p>\n\u003cfigure id=\"attachment_13974860\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd gathers at Unity Fest, a celebration of queer skateboarding, in October 2024. \u003ccite>(Courtesy Unity Press & Skateboarding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The initial recipients and their projects are:\u003c/p>\n\u003cp>\u003cstrong>Chinese Culture Foundation of San Francisco\u003c/strong>: $50,000 for a street festival along Chinatown’s Grant Avenue with large-scale installations and performances, celebrating the Chinese Culture Center’s 60th anniversary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>City Arts & Lectures\u003c/strong>: $25,000 for a salon series featuring live conversations with artists and thinkers, and interactivity with the audience.\u003c/p>\n\u003cp>\u003cstrong>Jeffrey Cheung / Unity Press & Skateboarding\u003c/strong>: $100,000 for a celebration of queer, trans and BIPOC communities through art, skateboarding and music events in downtown venues and public spaces.\u003c/p>\n\u003cp>\u003cstrong>Market Street Arts / Mid-Market Foundation\u003c/strong>: $75,000 for the return of \u003cem>UNSTAGED – Live on Mid-Market\u003c/em>, a festival including performance, public art and live events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>SFFILM\u003c/strong>: $50,000 for a series of 12 film events for students, educators and families at SFMOMA with filmmaker Q&As and screenings.\u003c/p>\n\u003cp>\u003cstrong>SFJAZZ\u003c/strong>: $50,000 for a series of community-focused jazz events combining live music, visual art, food and local markets.\u003c/p>\n\u003cp>\u003cstrong>SOMArts Cultural Center\u003c/strong>: $25,000 for a workshop series focused on LGBTQ+ culture culminating in an all-ages fashion show and community Vogue Ball in SoMa.\u003c/p>\n\u003cp>\u003cstrong>Tenderloin Museum\u003c/strong>: $50,000 for the museum’s 10-year anniversary programming, a year-long celebration with storytelling and multidisciplinary events highlighting the neighborhood’s legacy.\u003c/p>\n\u003cp>\u003cstrong>David Wilson\u003c/strong>: $25,000 for a participatory art installation using site-specific painting, sound and maps to take participants on a journey across downtown, accompanied by an exhibition and event series.\u003c/p>\n\u003cp>\u003cstrong>Yerba Buena Gardens Festival\u003c/strong>: $75,000 for the return of the Children’s Gardens Series, a family series with 22 free outdoor performances of dance, theater and music.\u003c/p>\n\u003cfigure id=\"attachment_13974858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performance at the Yerba Buena Gardens Festival, a recipient of this year’s Culture Forward grant. \u003ccite>(Courtesy Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As mayor, my job is to make downtown clean and safe, and create the conditions for people to want to return. I believe a thriving arts and culture scene is crucial to that work,” Mayor Lurie said in a statement.\u003c/p>\n\u003cp>Joining Mayor Lurie were former Zendesk CEO Mikkel Svane and Ella Svane of the Svane Family Foundation, along with program consultant lead Kelsey Issel. The Svane Family Foundation has previously supported Bay Area artists with $10,000 grants during the pandemic, as well as a $1 million gift to the Fine Arts Museums of San Francisco to acquire 42 works by Bay Area artists from historically underrepresented backgrounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Future Culture Forward recipients will be eligible for amounts ranging from $10,000–$100,000 for projects in the Financial District, SoMa, the Tenderloin, Civic Center, Mid-Market, Union Square, Tenderloin, Chinatown and Mission Bay. Applications, reviewed on a rolling basis, are available on \u003ca href=\"https://svanefamilyfoundation.submittable.com/submit\">the Culture Forward site\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Have You Spotted These Edwardian Chocolate Bunnies in San Francisco?",
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"headTitle": "Have You Spotted These Edwardian Chocolate Bunnies in San Francisco? | KQED",
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"content": "\u003cp>Stroll through the Stonestown \u003ca href=\"https://www.kqed.org/arts/tag/farmers-market\">Farmers Market\u003c/a> on a sunny spring morning, and you might spot a stall smothered in chocolate. Behold, an array of bars, bonbons, chocolate caramels, dipped figs and — a particular treat for this time of year — a matching pair of remarkably detailed chocolate bunnies. The male bunny sports a waistcoat and walking stick; the female bunny swishes her skirt and carries a parasol.\u003c/p>\n\u003cp>“They’re in their Easter Sunday best,” says the maker, David Upchurch.\u003c/p>\n\u003cp>Upchurch was originally an architect before he fell in love with pastry in Paris and career-changed into chocolate. During the recession, starting in 2009, he trained at City College of San Francisco and San Francisco Baking Institute. For the next five years, he worked at Recchiuti Confections, the craft chocolate tastemaker with a reputation for pulling fresh flavors from the farmers market. Upchurch started his own super-small-batch business during lockdown in 2020. Today, he shares a tiny production kitchen in SoMa while applying for a cottage license to work out of his home in Noe Valley.\u003c/p>\n\u003cfigure id=\"attachment_13974476\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED.jpg\" alt=\"A man in pink shirt and glasses shows chocolates to a small boy at his farmers market stand.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Upchurch, right, shows Lorenzo Paniagua, age 6, different types of chocolate at his farmers market stand. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He found the first male bunny while online shopping. As one does, Upchurch was doing a deep dive on eBay, shopping for antique chocolate molds. He scrolled across a dealer based in Brussels, who had a wide selection of molds from the early 20th century. He ordered a dozen, and the one of a male rabbit quickly became a favorite. It was made by Anton Reiche in Dresden, Germany, around 1920, Upchurch believes, according to its catalog number. “He’s extremely dapper,” Upchurch says. Many molds are designed to be perfectly symmetrical, but this rabbit has movement. “For lack of a better reference, he’s posed like a Neoclassical figure.”\u003c/p>\n\u003cp>He found the exact mate while browsing \u003ca href=\"https://omnivorebooks.myshopify.com\">Omnivore Books\u003c/a>. Like any good resident of Noe Valley, Upchurch likes chatting with bookmonger Celia Sack, owner of the only cookbook shop in San Francisco, which also carries vintage menus and assorted antiques. When he spotted the female bunny on her website, he scurried over. “It was total kismet,” Upchurch says. They’re a matching pair, from the exact same maker and time period. If anything, the female bunny was in even better shape. “She aged more gracefully.”\u003c/p>\n\u003cfigure id=\"attachment_13974477\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974477\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED.jpg\" alt=\"A man smiles at the elaborate chocolate bunny that he holds in the palm of his hand.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Upchurch gazes lovingly at one of the chocolate bunnies he says reminds him of Mary Poppins. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upchurch affectionately calls his rabbits Bert and Mary, after the chimney sweep and nanny in \u003cem>Mary Poppins\u003c/em>. Let’s call it loose inspiration because of course we’re hopping countries and years a smidge: \u003cem>Mary Poppins\u003c/em> is set in London in 1910 during the Edwardian era — King Edward ruled from 1901 to 1910, and the era continued until 1914. So technically these molds were made just after, but the bunnies do wear old-fashioned clothes. “The lady bunny reminds me of Mary Poppins with her flowing skirt, parasol and boots,” Upchurch says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You may buy one of these bunnies in either milk or dark chocolate. Upchurch has a passion for sourcing more interesting and nuanced chocolate from \u003ca href=\"https://www.conexionchocolate.com/\">Conexión\u003c/a> in Ecuador, instead of the ubiquitous Valrhona from France or Callebaut from Belgium. The milk chocolate is 40 percent cacao, with a pretty caramel color and flavor, and rich mouthfeel thanks to milk from grass-fed cows in the Andes. The dark chocolate is 64 percent cacao, with light bitterness and nutty and citrusy notes of pecan and lemon.\u003c/p>\n\u003cfigure id=\"attachment_13974641\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed.jpg\" alt='A display of chocolate Easter bunnies wrapped in plastic. A chalkboard sign reads, \"Bunnies for Easter. Antique molds.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Upchurch’s farmers market stand, where he sells his Edwardian-style chocolate bunnies during Easter season.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13939223,arts_13956809,arts_13925984']\u003c/span>\u003c/span>The molds are made of tin, and it’s tricky working with antiques. Upchurch tempers the chocolate and starts brushing each mold by hand to hit every nook and cranny. He pours in a light layer, clamps the halves shut and turns to coat. Then he pours in a thick layer, lets the chocolate set for several minutes and turns out the excess, ultimately leaving a sturdy shell to set for several hours. The molds aren’t symmetrical, and they don’t always want to close tidily. Does it get messy? Of course. Upchurch has also invested in new plastic molds, available in the same pattern. They don’t have the same depth of detail, but they’re so much faster and easier to use.\u003c/p>\n\u003cp>He only makes a few dozen bunnies every year, so catch them if you can. Upchurch sells at the Stonestown Farmers Market on Sundays and Marin Farmers Market on Thursdays, as well as through a couple of shops like \u003ca href=\"https://www.chocolatecoveredsf.com\">Chocolate Covered\u003c/a> and \u003ca href=\"https://www.instagram.com/collagesf/\">Collage Gallery\u003c/a>. The rabbits are priced at $29 each, and yes of course, that’s more than your everyday drugstore bunny. Consider the quality and freshness of the chocolate, responsibly sourced from a farming cooperative and all shaped by hand. They stand about 7 inches tall and 3 inches around, so you’re holding between 5 to 7 ounces of good chocolate.\u003c/p>\n\u003cfigure id=\"attachment_13974478\" class=\"wp-caption alignnone\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED.jpg\" alt=\"An ornate chocolate bunny held in front of a colorful spring bouquet.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">A close-up of “Mary,” who stands about 7 inches tall. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the bunnies surely sell out, do not despair. Upchurch has a few other Easter treats, including smash eggs, caramel eggs and peanut butter bunny bars. Of course, there are also many talented confectioners in the Bay Area, happy to help fill baskets — \u003ca href=\"https://www.dandelionchocolate.com/products/easter-egg\">Dandelion\u003c/a> has marshmallow eggs, and \u003ca href=\"https://www.recchiuti.com/products/easter-eggs\">Recchiuti\u003c/a> offers ganache eggs, along with \u003ca href=\"https://www.elbowchocolates.com/easter-8-piece-chocolates.html\">Christopher Elbow\u003c/a>’s spaceship bunnies, \u003ca href=\"https://www.socolachocolates.com/collections/all/products/easter-egg-hunt-bars\">Socola\u003c/a>’s egg hunt bars, \u003ca href=\"https://www.formosachocolates.com/products/spring-2025-bonbon-collection\">Formosa\u003c/a>’s bonbon chicks and many more.\u003c/p>\n\u003cp>Yet there’s something so enchanting about an early 20th century chocolate bunny, hopping between our elegant Edwardian homes painted in pastel colors in misty San Francisco. “Oh absolutely,” Upchurch agrees. “They’re very much at home here.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>David Upchurch Chocolatier sells at the \u003c/i>\u003ca href=\"https://www.agriculturalinstitute.org/stonestown\">\u003ci>Stonestown Farmers Market\u003c/i>\u003c/a>\u003ci> in San Francisco on Sundays from 9 a.m.–1 p.m. and at the \u003c/i>\u003ca href=\"https://www.agriculturalinstitute.org/thursday-marin\">\u003ci>Marin Farmers Market\u003c/i>\u003c/a>\u003ci> in San Rafael on Thursdays from 8 a.m.–1 p.m. A limited number of chocolate bunnies are available until sold out.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stroll through the Stonestown \u003ca href=\"https://www.kqed.org/arts/tag/farmers-market\">Farmers Market\u003c/a> on a sunny spring morning, and you might spot a stall smothered in chocolate. Behold, an array of bars, bonbons, chocolate caramels, dipped figs and — a particular treat for this time of year — a matching pair of remarkably detailed chocolate bunnies. The male bunny sports a waistcoat and walking stick; the female bunny swishes her skirt and carries a parasol.\u003c/p>\n\u003cp>“They’re in their Easter Sunday best,” says the maker, David Upchurch.\u003c/p>\n\u003cp>Upchurch was originally an architect before he fell in love with pastry in Paris and career-changed into chocolate. During the recession, starting in 2009, he trained at City College of San Francisco and San Francisco Baking Institute. For the next five years, he worked at Recchiuti Confections, the craft chocolate tastemaker with a reputation for pulling fresh flavors from the farmers market. Upchurch started his own super-small-batch business during lockdown in 2020. Today, he shares a tiny production kitchen in SoMa while applying for a cottage license to work out of his home in Noe Valley.\u003c/p>\n\u003cfigure id=\"attachment_13974476\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED.jpg\" alt=\"A man in pink shirt and glasses shows chocolates to a small boy at his farmers market stand.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Upchurch, right, shows Lorenzo Paniagua, age 6, different types of chocolate at his farmers market stand. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He found the first male bunny while online shopping. As one does, Upchurch was doing a deep dive on eBay, shopping for antique chocolate molds. He scrolled across a dealer based in Brussels, who had a wide selection of molds from the early 20th century. He ordered a dozen, and the one of a male rabbit quickly became a favorite. It was made by Anton Reiche in Dresden, Germany, around 1920, Upchurch believes, according to its catalog number. “He’s extremely dapper,” Upchurch says. Many molds are designed to be perfectly symmetrical, but this rabbit has movement. “For lack of a better reference, he’s posed like a Neoclassical figure.”\u003c/p>\n\u003cp>He found the exact mate while browsing \u003ca href=\"https://omnivorebooks.myshopify.com\">Omnivore Books\u003c/a>. Like any good resident of Noe Valley, Upchurch likes chatting with bookmonger Celia Sack, owner of the only cookbook shop in San Francisco, which also carries vintage menus and assorted antiques. When he spotted the female bunny on her website, he scurried over. “It was total kismet,” Upchurch says. They’re a matching pair, from the exact same maker and time period. If anything, the female bunny was in even better shape. “She aged more gracefully.”\u003c/p>\n\u003cfigure id=\"attachment_13974477\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974477\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED.jpg\" alt=\"A man smiles at the elaborate chocolate bunny that he holds in the palm of his hand.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-13-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Upchurch gazes lovingly at one of the chocolate bunnies he says reminds him of Mary Poppins. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upchurch affectionately calls his rabbits Bert and Mary, after the chimney sweep and nanny in \u003cem>Mary Poppins\u003c/em>. Let’s call it loose inspiration because of course we’re hopping countries and years a smidge: \u003cem>Mary Poppins\u003c/em> is set in London in 1910 during the Edwardian era — King Edward ruled from 1901 to 1910, and the era continued until 1914. So technically these molds were made just after, but the bunnies do wear old-fashioned clothes. “The lady bunny reminds me of Mary Poppins with her flowing skirt, parasol and boots,” Upchurch says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You may buy one of these bunnies in either milk or dark chocolate. Upchurch has a passion for sourcing more interesting and nuanced chocolate from \u003ca href=\"https://www.conexionchocolate.com/\">Conexión\u003c/a> in Ecuador, instead of the ubiquitous Valrhona from France or Callebaut from Belgium. The milk chocolate is 40 percent cacao, with a pretty caramel color and flavor, and rich mouthfeel thanks to milk from grass-fed cows in the Andes. The dark chocolate is 64 percent cacao, with light bitterness and nutty and citrusy notes of pecan and lemon.\u003c/p>\n\u003cfigure id=\"attachment_13974641\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed.jpg\" alt='A display of chocolate Easter bunnies wrapped in plastic. A chalkboard sign reads, \"Bunnies for Easter. Antique molds.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EdwardianChocolateBunnies_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Upchurch’s farmers market stand, where he sells his Edwardian-style chocolate bunnies during Easter season.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>The molds are made of tin, and it’s tricky working with antiques. Upchurch tempers the chocolate and starts brushing each mold by hand to hit every nook and cranny. He pours in a light layer, clamps the halves shut and turns to coat. Then he pours in a thick layer, lets the chocolate set for several minutes and turns out the excess, ultimately leaving a sturdy shell to set for several hours. The molds aren’t symmetrical, and they don’t always want to close tidily. Does it get messy? Of course. Upchurch has also invested in new plastic molds, available in the same pattern. They don’t have the same depth of detail, but they’re so much faster and easier to use.\u003c/p>\n\u003cp>He only makes a few dozen bunnies every year, so catch them if you can. Upchurch sells at the Stonestown Farmers Market on Sundays and Marin Farmers Market on Thursdays, as well as through a couple of shops like \u003ca href=\"https://www.chocolatecoveredsf.com\">Chocolate Covered\u003c/a> and \u003ca href=\"https://www.instagram.com/collagesf/\">Collage Gallery\u003c/a>. The rabbits are priced at $29 each, and yes of course, that’s more than your everyday drugstore bunny. Consider the quality and freshness of the chocolate, responsibly sourced from a farming cooperative and all shaped by hand. They stand about 7 inches tall and 3 inches around, so you’re holding between 5 to 7 ounces of good chocolate.\u003c/p>\n\u003cfigure id=\"attachment_13974478\" class=\"wp-caption alignnone\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED.jpg\" alt=\"An ornate chocolate bunny held in front of a colorful spring bouquet.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250410_EDWARDIANCHOCOLATEBUNNIES_GC-17-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">A close-up of “Mary,” who stands about 7 inches tall. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the bunnies surely sell out, do not despair. Upchurch has a few other Easter treats, including smash eggs, caramel eggs and peanut butter bunny bars. Of course, there are also many talented confectioners in the Bay Area, happy to help fill baskets — \u003ca href=\"https://www.dandelionchocolate.com/products/easter-egg\">Dandelion\u003c/a> has marshmallow eggs, and \u003ca href=\"https://www.recchiuti.com/products/easter-eggs\">Recchiuti\u003c/a> offers ganache eggs, along with \u003ca href=\"https://www.elbowchocolates.com/easter-8-piece-chocolates.html\">Christopher Elbow\u003c/a>’s spaceship bunnies, \u003ca href=\"https://www.socolachocolates.com/collections/all/products/easter-egg-hunt-bars\">Socola\u003c/a>’s egg hunt bars, \u003ca href=\"https://www.formosachocolates.com/products/spring-2025-bonbon-collection\">Formosa\u003c/a>’s bonbon chicks and many more.\u003c/p>\n\u003cp>Yet there’s something so enchanting about an early 20th century chocolate bunny, hopping between our elegant Edwardian homes painted in pastel colors in misty San Francisco. “Oh absolutely,” Upchurch agrees. “They’re very much at home here.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>David Upchurch Chocolatier sells at the \u003c/i>\u003ca href=\"https://www.agriculturalinstitute.org/stonestown\">\u003ci>Stonestown Farmers Market\u003c/i>\u003c/a>\u003ci> in San Francisco on Sundays from 9 a.m.–1 p.m. and at the \u003c/i>\u003ca href=\"https://www.agriculturalinstitute.org/thursday-marin\">\u003ci>Marin Farmers Market\u003c/i>\u003c/a>\u003ci> in San Rafael on Thursdays from 8 a.m.–1 p.m. A limited number of chocolate bunnies are available until sold out.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the first time in its 56-year history, the \u003ca href=\"https://www.kqed.org/arts/tag/exploratorium\">Exploratorium\u003c/a> has announced an open call for its next artist in residence.\u003c/p>\n\u003cp>The San Francisco science and art museum has hosted an artist-in-residence program since 1974, with alumni including \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, \u003ca href=\"https://www.kqed.org/forum/311131000/brian-eno\">Brian Eno\u003c/a> and \u003ca href=\"https://ww2.kqed.org/spark/ned-kahn/\">Ned Kahn\u003c/a>. Artists for the program have always been chosen internally — until now.\u003c/p>\n\u003cp>Applications for the 2025-2026 artist-in-residence program \u003ca href=\"https://www.exploratorium.edu/arts/artist-residence\">opened today\u003c/a>, April 15, and will continue to be accepted through May 30.\u003c/p>\n\u003cp>In addition to support for projects and travel, artists in residence receive access to the Exploratorium’s facilities on Pier 15, as well as the input and expertise of its staff. The position includes a $15,000 annual stipend.[aside postID=arts_13974032 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/21_Artist-Ruth-Asawa-making-wire-sculptures_2000-cropped.jpg']Collaboration and innovation are key aspects of each Exploratorium residency, which typically lasts for two years. According to the Exploratorium’s guidelines, applicants to the the program “should be inherently curious and deeply invested in inquiry as a part of their practice.”\u003c/p>\n\u003cp>Projects that have resulted from the residency span the worlds of theater, film, immersive art, walking tours and the online space. The Exploratorium’s current artist in residence, \u003ca href=\"https://catiecuan.com/\">Dr. Catie Cuan\u003c/a>, is both a roboticist and dancer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Art has been fundamental to the Exploratorium since its founding,” project director Ann Meisinger said in a statement, “and we’re delighted to expand our artist community and connect with curious artists who share our passion for exploring the world through asking questions, experimentation, and exploring perception.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Informational sessions are planned on April 24 and May 16 for interested applicants. More information can be found via \u003ca href=\"http://exploratorium.edu/arts/artist-residence\">the Exploratorium’s site\u003c/a>.\u003c/p>\n\n",
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"order": 9
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
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"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
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