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"title": "As a Filipino American, Dungeness Crab Was Part of My OG San Francisco Childhood",
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"content": "\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[dropcap]I[/dropcap] never learned how to fish when I was growing up in San Francisco, but I did learn how to go crabbing. We lived on Treasure Island — or T.I., as the locals call it — back when the man-made island was still an active naval base. All through my childhood, I was surrounded by the damp, salty smell of waves crashing upon an artificial seawall — the cawing of gulls, faint tapping of metal hooks on flagpoles and ever-present foghorn in the distance.\u003c/p>\n\u003cp>On winter nights, when the weather permitted, my friends and I would bundle up and walk out onto the wooden pier with a crab net, a package of defrosted chicken thighs ready to be strapped into the bait cage. As a kid, it was staying up late that made it exciting — the fattest Dungeness mostly fed at night. As a teenager, it was the camaraderie of wind-whipped faces and timing our beers to when we pulled up the net to examine our haul. I learned how to pick a stray crab up off a net — from behind — before it could scuttle away on the pier, then flip it over to see if we were lucky enough to get some roe out of the catch.\u003c/p>\n\u003cp>When our eyes started drooping and our stomachs started growling, we’d head back to the house for a feast.\u003c/p>\n\u003cfigure id=\"attachment_13923170\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Rocky Rivera watches from a camping chair while her cousin-in-law prepares a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera watches while her cousin-in-law, Alyssa Tiglao (foreground), prepares the crab net at the Pacifica Municipal Pier. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every Filipino American knows that the first order of duty after placing the crabs in the sink is to cook the rice, which was the only other dish we’d prepare to make it a full meal. Someone would boil the water or fire up the oven, and then each household would cook the crab according to their preferred method. Most of us boiled them in seawater (or salted water) to season the meat. We learned to first freeze the crabs to make them sleepy, then throw them in a steamer pot so that they retained their natural salinity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My sister always took the additional step of cracking each joint and pouring melted butter with garlic, tarragon, chili flakes and lemongrass over the crabs, then placing them in a hot oven to roast. Those extra ten minutes elevated the whole experience.\u003c/p>\n\u003cp>When the crab was finally ready to eat, the rice pot went still steaming to the table, along with a saucer of tiltilan for each person so we could dip the crab into the mixture of cane vinegar, smashed garlic, salt and pepper before scooping up rice with our hands. Food always tasted better kamayan-style. After each delicious bite, we’d spoon crab liver and roe over the hot rice and savor the luxurious flavor that had only cost us our sleep and mild hypothermia — a cost we were always willing to pay. Each of us would eat at least three Dungeness apiece.\u003c/p>\n\u003cfigure id=\"attachment_13923173\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Hands tying the rope knots on a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tying the rope knots on the crab net. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Filipinos, our connection with crabs is baked right into the culture. According to old folk tales, Tambanokano was a gigantic crab who was a child of the Sun and Moon. He lived in a hole in the bottom of the ocean and controlled the tides with his movement. He was so powerful that every time he opened and closed his eyes, a bolt of lightning would flash.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13921079,arts_13915581']\u003c/span>Sometimes when Tambanokano would argue with his parents, he became so upset with his mother, the Moon, that he would chase after her and try to swallow her. The villagers would come out with their drums and scare him away in order to save the Moon — an early explanation for what I assume were lunar eclipses.\u003c/p>\n\u003cp>I thought about those stories during the last dog days of summer this past year, on a day forecasted to be so hot that I’d schemed a coastal escape the night before. I wanted to get an early start toward Highway 1 from Oakland to beat the inland heat, so I called my cousin Nina in Pacifica, crossing my fingers that she was around for an impromptu beach day.\u003c/p>\n\u003cp>I parked at her place, migrating my beach bag to the backseat of her car while she recited, “Hail Mary, full of grace, let us find a parking space.” It must have worked because someone left, and Nina busted a U so fast on the 1, we got honked at. We waved them off. As locals, sometimes audacity is all we got when it comes to prime parking. By 11 a.m. the cars were so backed up along the 1 that they looked like a glittering snake on the cliffside.\u003c/p>\n\u003cfigure id=\"attachment_13923175\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13923175 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"One tiny crab scuttling along the edge of a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One tiny Dungeness crab — too small to keep — scuttles around the edge of the net. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside link1='https://youtu.be/4Ewc9krGDBQ?t=122,Watch: Fishing for the Best Catches at Pillar Point Harbor' hero='https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-30-at-4.32.13-PM-e1672447239257.png' heroURL='https://youtu.be/4Ewc9krGDBQ?t=122']After soaking up all the rays I could get, I decided to cool off in the surf, which was when a big wave sent something tumbling onto my legs. It was a full-grown Dungeness crab, so close to me I instinctively bent down to pick it up off the sand. In that split second, I thought, “Wait…what do I look like bringing in a whole-ass crab with no cooler to put it in? With my bare hands?!” In that moment of hesitation, the ocean washed the crab away. When I looked over at Nina, I saw a crab at her feet, too, right before it was carried away by an incoming wave.\u003c/p>\n\u003cp>All we could do was shake our heads at the Disney \u003ci>Moana\u003c/i>-like ocean experience. And to both of us?\u003c/p>\n\u003cp>In all the times my cousins and I played in the ocean together as kids, it had never gifted us a Dungeness to our feet. But now, thousands of miles away from our motherland, the ancestors were kind enough to show themselves through this duo of surfing crabs. Maybe the great Tambonokano was still working his magic on the tides and waves, after all.\u003c/p>\n\u003cfigure id=\"attachment_13923178\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"A toddler, bundled up in warm winter clothes, eats a cracker during a family crabbing trip.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author’s nephew, Kannon Scott-de Leon, on his first crabbing trip. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past four years, our family’s crab tradition has been postponed later and later due to the spread of toxic algae in the warming western waters where the Dungeness crabs live. This year’s commercial crab season was supposed to start on Dec. 1, my birthday, before it got pushed back again to the 31st. We’ve played it safe and waited patiently, but the only redeeming quality about having a birthday in December is crab season. Real Frisco heads know this.\u003c/p>\n\u003cp>But with the price of everything in our city going up, and pollution pushing our annual crab feasts further back, this pastime could be soon over by the time my daughter is old enough to throw her own crab net into the Bay.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“Maybe that’s the mark of a real San Franciscan: that you love something that no longer exists, or that’s slipping away before your very eyes.”[/pullquote]\u003c/span>The wooden pier on Treasure Island where my family used to crab was condemned, then demolished, a couple years back, replaced by a small ferry pier. And catching Dungeness within the San Francisco Bay hasn’t been legal since the early 2000s anyway. Recently, a young architectural intern showed me a render of plans for the new T.I., in which glass-covered condo skyscrapers would replace the old aviation museum and soldier barracks. Even though those of us who grew up in the tiny island community always knew about the real estate potential and million-dollar view, it’s still strange to see the construction cranes \u003ca href=\"https://youtu.be/qJVTQi1KXzg\">making those changes a reality\u003c/a>.\u003c/p>\n\u003cp>Maybe that’s the mark of a real San Franciscan: that you love something that no longer exists, or that’s slipping away before your very eyes.\u003c/p>\n\u003cfigure id=\"attachment_13923179\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"A nighttime family portrait taken on the pier in Pacifica.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For Rocky Rivera, crab fishing has always been a family affair. Pictured from left to right: Alyssa Tiglao, Kannon Scott-de Leon, Mark Scott-de Leon, Makai Scott-de Leon, Nina Parks and Rivera. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet at the start of every crab season, I still splurge. On Christmas, when my sister is in town, we head over to Ranch 99 or the Pacific Supermarket on Alemany Ave. and prepare a whole platter in the way we know best, extra steps and all. We don’t forget to pick up some newspapers outside of the store — no one reads ’em anyway — and drape them over the table to absorb the butter and hold the shells.\u003c/p>\n\u003cp>I tell myself that with all the practice from childhood, I could have caught Tambanokano himself with my bare hands. But that magical crab wouldn’t have been pleased. Every responsible crabber knows that we only take what’s necessary and leave the rest for next year’s catch.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The author's memories of crab fishing on Treasure Island are in danger of becoming a relic of the past.",
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"title": "As a Filipino American, Dungeness Crab Was Part of My OG San Francisco Childhood | KQED",
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"headline": "As a Filipino American, Dungeness Crab Was Part of My OG San Francisco Childhood",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> never learned how to fish when I was growing up in San Francisco, but I did learn how to go crabbing. We lived on Treasure Island — or T.I., as the locals call it — back when the man-made island was still an active naval base. All through my childhood, I was surrounded by the damp, salty smell of waves crashing upon an artificial seawall — the cawing of gulls, faint tapping of metal hooks on flagpoles and ever-present foghorn in the distance.\u003c/p>\n\u003cp>On winter nights, when the weather permitted, my friends and I would bundle up and walk out onto the wooden pier with a crab net, a package of defrosted chicken thighs ready to be strapped into the bait cage. As a kid, it was staying up late that made it exciting — the fattest Dungeness mostly fed at night. As a teenager, it was the camaraderie of wind-whipped faces and timing our beers to when we pulled up the net to examine our haul. I learned how to pick a stray crab up off a net — from behind — before it could scuttle away on the pier, then flip it over to see if we were lucky enough to get some roe out of the catch.\u003c/p>\n\u003cp>When our eyes started drooping and our stomachs started growling, we’d head back to the house for a feast.\u003c/p>\n\u003cfigure id=\"attachment_13923170\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Rocky Rivera watches from a camping chair while her cousin-in-law prepares a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera watches while her cousin-in-law, Alyssa Tiglao (foreground), prepares the crab net at the Pacifica Municipal Pier. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every Filipino American knows that the first order of duty after placing the crabs in the sink is to cook the rice, which was the only other dish we’d prepare to make it a full meal. Someone would boil the water or fire up the oven, and then each household would cook the crab according to their preferred method. Most of us boiled them in seawater (or salted water) to season the meat. We learned to first freeze the crabs to make them sleepy, then throw them in a steamer pot so that they retained their natural salinity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My sister always took the additional step of cracking each joint and pouring melted butter with garlic, tarragon, chili flakes and lemongrass over the crabs, then placing them in a hot oven to roast. Those extra ten minutes elevated the whole experience.\u003c/p>\n\u003cp>When the crab was finally ready to eat, the rice pot went still steaming to the table, along with a saucer of tiltilan for each person so we could dip the crab into the mixture of cane vinegar, smashed garlic, salt and pepper before scooping up rice with our hands. Food always tasted better kamayan-style. After each delicious bite, we’d spoon crab liver and roe over the hot rice and savor the luxurious flavor that had only cost us our sleep and mild hypothermia — a cost we were always willing to pay. Each of us would eat at least three Dungeness apiece.\u003c/p>\n\u003cfigure id=\"attachment_13923173\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Hands tying the rope knots on a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tying the rope knots on the crab net. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Filipinos, our connection with crabs is baked right into the culture. According to old folk tales, Tambanokano was a gigantic crab who was a child of the Sun and Moon. He lived in a hole in the bottom of the ocean and controlled the tides with his movement. He was so powerful that every time he opened and closed his eyes, a bolt of lightning would flash.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Sometimes when Tambanokano would argue with his parents, he became so upset with his mother, the Moon, that he would chase after her and try to swallow her. The villagers would come out with their drums and scare him away in order to save the Moon — an early explanation for what I assume were lunar eclipses.\u003c/p>\n\u003cp>I thought about those stories during the last dog days of summer this past year, on a day forecasted to be so hot that I’d schemed a coastal escape the night before. I wanted to get an early start toward Highway 1 from Oakland to beat the inland heat, so I called my cousin Nina in Pacifica, crossing my fingers that she was around for an impromptu beach day.\u003c/p>\n\u003cp>I parked at her place, migrating my beach bag to the backseat of her car while she recited, “Hail Mary, full of grace, let us find a parking space.” It must have worked because someone left, and Nina busted a U so fast on the 1, we got honked at. We waved them off. As locals, sometimes audacity is all we got when it comes to prime parking. By 11 a.m. the cars were so backed up along the 1 that they looked like a glittering snake on the cliffside.\u003c/p>\n\u003cfigure id=\"attachment_13923175\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13923175 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"One tiny crab scuttling along the edge of a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One tiny Dungeness crab — too small to keep — scuttles around the edge of the net. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"link1": "https://youtu.be/4Ewc9krGDBQ?t=122,Watch: Fishing for the Best Catches at Pillar Point Harbor",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After soaking up all the rays I could get, I decided to cool off in the surf, which was when a big wave sent something tumbling onto my legs. It was a full-grown Dungeness crab, so close to me I instinctively bent down to pick it up off the sand. In that split second, I thought, “Wait…what do I look like bringing in a whole-ass crab with no cooler to put it in? With my bare hands?!” In that moment of hesitation, the ocean washed the crab away. When I looked over at Nina, I saw a crab at her feet, too, right before it was carried away by an incoming wave.\u003c/p>\n\u003cp>All we could do was shake our heads at the Disney \u003ci>Moana\u003c/i>-like ocean experience. And to both of us?\u003c/p>\n\u003cp>In all the times my cousins and I played in the ocean together as kids, it had never gifted us a Dungeness to our feet. But now, thousands of miles away from our motherland, the ancestors were kind enough to show themselves through this duo of surfing crabs. Maybe the great Tambonokano was still working his magic on the tides and waves, after all.\u003c/p>\n\u003cfigure id=\"attachment_13923178\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"A toddler, bundled up in warm winter clothes, eats a cracker during a family crabbing trip.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author’s nephew, Kannon Scott-de Leon, on his first crabbing trip. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past four years, our family’s crab tradition has been postponed later and later due to the spread of toxic algae in the warming western waters where the Dungeness crabs live. This year’s commercial crab season was supposed to start on Dec. 1, my birthday, before it got pushed back again to the 31st. We’ve played it safe and waited patiently, but the only redeeming quality about having a birthday in December is crab season. Real Frisco heads know this.\u003c/p>\n\u003cp>But with the price of everything in our city going up, and pollution pushing our annual crab feasts further back, this pastime could be soon over by the time my daughter is old enough to throw her own crab net into the Bay.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“Maybe that’s the mark of a real San Franciscan: that you love something that no longer exists, or that’s slipping away before your very eyes.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>The wooden pier on Treasure Island where my family used to crab was condemned, then demolished, a couple years back, replaced by a small ferry pier. And catching Dungeness within the San Francisco Bay hasn’t been legal since the early 2000s anyway. Recently, a young architectural intern showed me a render of plans for the new T.I., in which glass-covered condo skyscrapers would replace the old aviation museum and soldier barracks. Even though those of us who grew up in the tiny island community always knew about the real estate potential and million-dollar view, it’s still strange to see the construction cranes \u003ca href=\"https://youtu.be/qJVTQi1KXzg\">making those changes a reality\u003c/a>.\u003c/p>\n\u003cp>Maybe that’s the mark of a real San Franciscan: that you love something that no longer exists, or that’s slipping away before your very eyes.\u003c/p>\n\u003cfigure id=\"attachment_13923179\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"A nighttime family portrait taken on the pier in Pacifica.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For Rocky Rivera, crab fishing has always been a family affair. Pictured from left to right: Alyssa Tiglao, Kannon Scott-de Leon, Mark Scott-de Leon, Makai Scott-de Leon, Nina Parks and Rivera. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet at the start of every crab season, I still splurge. On Christmas, when my sister is in town, we head over to Ranch 99 or the Pacific Supermarket on Alemany Ave. and prepare a whole platter in the way we know best, extra steps and all. We don’t forget to pick up some newspapers outside of the store — no one reads ’em anyway — and drape them over the table to absorb the butter and hold the shells.\u003c/p>\n\u003cp>I tell myself that with all the practice from childhood, I could have caught Tambanokano himself with my bare hands. But that magical crab wouldn’t have been pleased. Every responsible crabber knows that we only take what’s necessary and leave the rest for next year’s catch.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>A group of true San Franciscans is easy to spot in the Bay Area wild. Usually, they’re wearing some OG Frisco gear — like an all-gold satin 49ers jacket and Giants fitted brim — and have someone rolling a blunt in the passenger seat of a nearby Buick or Chevy, doors open and music blaring onto the street.\u003c/p>\n\u003cp>That was the vibe at \u003ca href=\"https://www.instagram.com/bigmafiburgers/\">Big Mafi Burger\u003c/a>’s recent pop-up at \u003ca href=\"https://www.instagram.com/cookiessf/\">Cookies\u003c/a> in Hayward, where San Francisco rapper \u003ca href=\"https://www.instagram.com/cellski415/\">Cellski\u003c/a> came out to supply his culinary goods. Never one to pass up a Bay Area collaboration, \u003ca href=\"https://www.instagram.com/berner415/?hl=en\">Berner\u003c/a>, the S.F. rapper who co-owns Cookies, created his own recipe for the event: The Berner Burger featured jalapeños and barbecue sauce grilled and served on your choice of burger (turkey, beef, vegan) and bun (sesame, brioche, wheat) — all “mashed” into a stack of one, two or three flattened patties.\u003c/p>\n\u003cp>It’s not the first time \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">local rap artists have ventured into the food game\u003c/a>. Most recently, East Oakland’s \u003ca href=\"https://twitter.com/22NDWAYS/status/1590126226978791424\">ALLBLACK announced his “ALLBLACK Burger”\u003c/a> — featuring black buns, imported black cheddar, Hennessy and Patron sauce and candied brown sugar bacon — which sold out to fans at the rapper’s latest show. Still available at \u003ca href=\"https://www.instagram.com/ibsberkeley/?hl=en\">I.B.’s in Berkeley\u003c/a>, it goes to show how the rap game feeds the Bay in more ways than one.\u003c/p>\n\u003cp>Though I wasn’t able to catch ALLBLACK’s food debut, I came through to Cookies to show Big Mafi Burgers some love. The first bite was as saucy and flavorful as a ‘90s rap anthem. Here’s what the 415’s “Mr. Predicter” had to say about his love of music and food.\u003c/p>\n\u003cfigure id=\"attachment_13922640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_6274-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_6274-800x533.jpg\" alt='the rapper, Cellski, stands in front of a sign on the street that says \"Big Mafi Burgers\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF rapper Cellski at Cookies for his Big Mafi Burger pop-up in Hayward. \u003ccite>(Alan Chazaro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cstrong>ALAN CHAZARO:\u003c/strong> Tell us about Big Mafi Burger. When did you open and what’s on your menu?\u003c/p>\n\u003cp>\u003cstrong>CELLSKI:\u003c/strong> We opened in October, but it’s an idea I came up with years ago. The food industry is real big right now so I decided to put my burger to the test. I’m using my grandmother’s recipe and wanted the world to taste that. She used to make the best muthafuckin’ burgers, rest in peace.\u003c/p>\n\u003cp>We use up to six spices — our beef recipe uses five and the turkey burger has extra seasoning. Our style is the mash burger. Everyone is doing the smash burger now, but we don’t smash it, we mash it. That’s our signature. I went with the mash style because of the sear and crust on the meat. When you mash it like that, you gotta turn it so [that] it spreads out and it cooks all the way down and then you get that crispy outer layer. Once you flip it and add that cheese? It all just melts in your mouth (laughs).\u003c/p>\n\u003cp>Our most popular item is The Big Mafi Burger, which has chopped onions and green bell peppers mixed in with the meat patty to bring out more flavor. That’s a hood burger from the projects that we used to do — like a seasoned meatloaf. I also use my secret sauce for that. I learned how to make sauce from Beep’s, my favorite burger spot in the neighborhood. It’s in Lakeview, where I grew up. A friend taught me how to make [the sauce] when she worked there back in the day. I added my own little whoop to it, made it my own.\u003c/p>\n\u003cp>\u003cstrong>Lakeview seems to produce a lot of good cooks — that’s also where a founding member of \u003ca href=\"https://www.kqed.org/arts/13916044/sucka-free-soul-the-vegan-hood-chefs-honor-southern-heritage-with-a-frisco-twist\">The Vegan Hood Chefs\u003c/a> is from.\u003c/strong>\u003c/p>\n\u003cp>They’re like little sisters to me. I spoke with them [about starting Big Mafi Burgers]. Anything I do, I study it before I jump in.\u003c/p>\n\u003cp>\u003cstrong>You have an album playfully titled \u003ca href=\"https://open.spotify.com/album/25MKCvouaBw8nNnBKcUyoJ\">\u003cb>\u003ci>Canadian Bacon & Hashbrowns\u003c/i>\u003c/b>\u003c/a>. When did you get involved in food-making? What’s your connection to it?\u003c/strong>\u003c/p>\n\u003cp>That all comes from my grandmother’s kitchen. Her and my mom cooked the best food in my life, and I learned from them both. My grandma’s tacos didn’t taste like nobody else’s. Her burgers. Her soul food. It was just different. I would sit in the kitchen with her when I could and learn her recipes. I knew she wouldn’t always be around so I wrote it down. I tried it. I perfected it. I even used to cook for her later in life. If you \u003cem>know me \u003c/em>know me, you know I can really get down in the kitchen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7eZGFh-_ZHg\u003c/p>\n\u003cp>\u003cstrong>You’ve had a long career in rap. How did you get started and what’s been your experience making music in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I started rapping back in the 90s. I’ve been around rap music all my life. My uncle was a drummer — his band practiced in my grandma’s garage and I was always around it. He gave me a drum machine when I was a kid and I just got into music and producing. I’ve done lots of projects with hella artists in the Bay. I’ve been in this game for 30 years. I put my first record out in 1995 [Mr. Predicter]. I was about 18 years old.\u003c/p>\n\u003cp>I grew up under \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Cougnut, the greatest Frisco rapper ever\u003c/a>. He was young but I watched him do it. He put me on my first tour. Whenever he performed he let me come out and do my songs. That’s my big bro. Rest his soul. His mom and my mom was real close, even before rapping. It made sense when he made it big that I would come up with him.\u003c/p>\n\u003cp>Frisco Kid was another dude from my neighborhood, too. They was both my influences. Also, shout out Too $hort. Huey MC. The Miller and Budweiser — it used to be them two dudes battling back in the day. That’s real Frisco history right there. That’s some 1987 shit (laughs).\u003c/p>\n\u003cp>\u003cstrong>Why is supporting other locally-owned businesses — like Mistah Fab’s Dope Era Clothing and Berner’s Cookies — important to you?\u003c/strong>\u003c/p>\n\u003cp>We got a small community of Bay Area artists and influencers; we all try to stick together and push each other. It’s very important, even when there’s separation behind the scenes — neighborhood politics, shit like that. But I don’t deal with that, I’m older now. As far as the community of us out here, it’s beautiful. I’m just trying to boost people’s spirits up. That’s what I’m here for. I’m the big bro. I’ve been around Bern and Fab since the beginning of they shit. Bern and I started our brands around the same time. That’s my people.\u003c/p>\n\u003cp>\u003cstrong>There has been a wave of Bay Area rappers going into the food and beverage industry. Why do you think that is?\u003c/strong>\u003c/p>\n\u003cp>As you get older, things change. Rap is cool, but I’ve been doing it 30 years. I got to build businesses outside of that. My fans can come to this now. As a whole rap community, we get fans from each other, and that brings more awareness to what we’re all doing. You get older, you know. I’m in my 40s. We got our core fanbases but those checks ain’t what they used to be for me. It’s just different. I started a streetwear clothing line 10 years ago, \u003ca href=\"https://www.cbcbrand.com/shop-1?page=2\">Chemical Baby\u003c/a>. I also got an equity cannabis license with \u003ca href=\"https://www.2tookfarms.com/\">2Took Farms\u003c/a> and we distribute with Cookies. I’m juggling a few businesses, bro.\u003c/p>\n\u003cfigure id=\"attachment_13922642\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_6208-800x533.jpg\" alt='a cook \"mashes\" a burger patty by flattening it with an iron press on the grill' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A cook at Big Mafi Burger “mashes” two beef patties on the grill. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s next for Big Mafi Burgers?\u003c/strong>\u003c/p>\n\u003cp>We’re doing pop-ups right now but we’re working on getting a ghost kitchen in SoMa next year. We’ll be doing takeout from that location, and we’ll announce that at the start of 2023. Hopefully we can get us a brick-and-mortar one day. That’s our goal. But for now I’m also working on a deli, Celly’s Deli, and a soul food kitchen, Eassie Mae’s soul food, which are all my grandmother’s recipes. We’ll be running it all out of the same kitchen. People can come through and pick up, or get delivery.\u003c/p>\n\u003cp>We’re doing a pop-up with Vegan Mob in a few weeks with an all-vegan menu. We’re also doing First Fridays at Dope Era again. We sold out the first time. I’ll also be selling burgers in the 49ers parking lot. I’m performing at the game this Sunday [11/27], so they told me to pull up with the burgers. We do private parties and events, too. We’ll be off during the holidays but we’ll be back in January and then get into the new kitchen. Once we get in there we’ll be on a roll, baby.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/bigmafiburgers/\">\u003ci>Big Mafi Burgers\u003c/i>\u003c/a>\u003ci> is currently serving at pop-up events around the Bay. They will appear next at the Byxbee Park toy drive (2375 Embarcadero Rd, Palo Alto) on Dec. 16 from 11 a.m. to 5 p.m.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>A group of true San Franciscans is easy to spot in the Bay Area wild. Usually, they’re wearing some OG Frisco gear — like an all-gold satin 49ers jacket and Giants fitted brim — and have someone rolling a blunt in the passenger seat of a nearby Buick or Chevy, doors open and music blaring onto the street.\u003c/p>\n\u003cp>That was the vibe at \u003ca href=\"https://www.instagram.com/bigmafiburgers/\">Big Mafi Burger\u003c/a>’s recent pop-up at \u003ca href=\"https://www.instagram.com/cookiessf/\">Cookies\u003c/a> in Hayward, where San Francisco rapper \u003ca href=\"https://www.instagram.com/cellski415/\">Cellski\u003c/a> came out to supply his culinary goods. Never one to pass up a Bay Area collaboration, \u003ca href=\"https://www.instagram.com/berner415/?hl=en\">Berner\u003c/a>, the S.F. rapper who co-owns Cookies, created his own recipe for the event: The Berner Burger featured jalapeños and barbecue sauce grilled and served on your choice of burger (turkey, beef, vegan) and bun (sesame, brioche, wheat) — all “mashed” into a stack of one, two or three flattened patties.\u003c/p>\n\u003cp>It’s not the first time \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">local rap artists have ventured into the food game\u003c/a>. Most recently, East Oakland’s \u003ca href=\"https://twitter.com/22NDWAYS/status/1590126226978791424\">ALLBLACK announced his “ALLBLACK Burger”\u003c/a> — featuring black buns, imported black cheddar, Hennessy and Patron sauce and candied brown sugar bacon — which sold out to fans at the rapper’s latest show. Still available at \u003ca href=\"https://www.instagram.com/ibsberkeley/?hl=en\">I.B.’s in Berkeley\u003c/a>, it goes to show how the rap game feeds the Bay in more ways than one.\u003c/p>\n\u003cp>Though I wasn’t able to catch ALLBLACK’s food debut, I came through to Cookies to show Big Mafi Burgers some love. The first bite was as saucy and flavorful as a ‘90s rap anthem. Here’s what the 415’s “Mr. Predicter” had to say about his love of music and food.\u003c/p>\n\u003cfigure id=\"attachment_13922640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_6274-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_6274-800x533.jpg\" alt='the rapper, Cellski, stands in front of a sign on the street that says \"Big Mafi Burgers\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6274-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF rapper Cellski at Cookies for his Big Mafi Burger pop-up in Hayward. \u003ccite>(Alan Chazaro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cstrong>ALAN CHAZARO:\u003c/strong> Tell us about Big Mafi Burger. When did you open and what’s on your menu?\u003c/p>\n\u003cp>\u003cstrong>CELLSKI:\u003c/strong> We opened in October, but it’s an idea I came up with years ago. The food industry is real big right now so I decided to put my burger to the test. I’m using my grandmother’s recipe and wanted the world to taste that. She used to make the best muthafuckin’ burgers, rest in peace.\u003c/p>\n\u003cp>We use up to six spices — our beef recipe uses five and the turkey burger has extra seasoning. Our style is the mash burger. Everyone is doing the smash burger now, but we don’t smash it, we mash it. That’s our signature. I went with the mash style because of the sear and crust on the meat. When you mash it like that, you gotta turn it so [that] it spreads out and it cooks all the way down and then you get that crispy outer layer. Once you flip it and add that cheese? It all just melts in your mouth (laughs).\u003c/p>\n\u003cp>Our most popular item is The Big Mafi Burger, which has chopped onions and green bell peppers mixed in with the meat patty to bring out more flavor. That’s a hood burger from the projects that we used to do — like a seasoned meatloaf. I also use my secret sauce for that. I learned how to make sauce from Beep’s, my favorite burger spot in the neighborhood. It’s in Lakeview, where I grew up. A friend taught me how to make [the sauce] when she worked there back in the day. I added my own little whoop to it, made it my own.\u003c/p>\n\u003cp>\u003cstrong>Lakeview seems to produce a lot of good cooks — that’s also where a founding member of \u003ca href=\"https://www.kqed.org/arts/13916044/sucka-free-soul-the-vegan-hood-chefs-honor-southern-heritage-with-a-frisco-twist\">The Vegan Hood Chefs\u003c/a> is from.\u003c/strong>\u003c/p>\n\u003cp>They’re like little sisters to me. I spoke with them [about starting Big Mafi Burgers]. Anything I do, I study it before I jump in.\u003c/p>\n\u003cp>\u003cstrong>You have an album playfully titled \u003ca href=\"https://open.spotify.com/album/25MKCvouaBw8nNnBKcUyoJ\">\u003cb>\u003ci>Canadian Bacon & Hashbrowns\u003c/i>\u003c/b>\u003c/a>. When did you get involved in food-making? What’s your connection to it?\u003c/strong>\u003c/p>\n\u003cp>That all comes from my grandmother’s kitchen. Her and my mom cooked the best food in my life, and I learned from them both. My grandma’s tacos didn’t taste like nobody else’s. Her burgers. Her soul food. It was just different. I would sit in the kitchen with her when I could and learn her recipes. I knew she wouldn’t always be around so I wrote it down. I tried it. I perfected it. I even used to cook for her later in life. If you \u003cem>know me \u003c/em>know me, you know I can really get down in the kitchen.\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/7eZGFh-_ZHg'\n title='//www.youtube.com/embed/7eZGFh-_ZHg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You’ve had a long career in rap. How did you get started and what’s been your experience making music in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I started rapping back in the 90s. I’ve been around rap music all my life. My uncle was a drummer — his band practiced in my grandma’s garage and I was always around it. He gave me a drum machine when I was a kid and I just got into music and producing. I’ve done lots of projects with hella artists in the Bay. I’ve been in this game for 30 years. I put my first record out in 1995 [Mr. Predicter]. I was about 18 years old.\u003c/p>\n\u003cp>I grew up under \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Cougnut, the greatest Frisco rapper ever\u003c/a>. He was young but I watched him do it. He put me on my first tour. Whenever he performed he let me come out and do my songs. That’s my big bro. Rest his soul. His mom and my mom was real close, even before rapping. It made sense when he made it big that I would come up with him.\u003c/p>\n\u003cp>Frisco Kid was another dude from my neighborhood, too. They was both my influences. Also, shout out Too $hort. Huey MC. The Miller and Budweiser — it used to be them two dudes battling back in the day. That’s real Frisco history right there. That’s some 1987 shit (laughs).\u003c/p>\n\u003cp>\u003cstrong>Why is supporting other locally-owned businesses — like Mistah Fab’s Dope Era Clothing and Berner’s Cookies — important to you?\u003c/strong>\u003c/p>\n\u003cp>We got a small community of Bay Area artists and influencers; we all try to stick together and push each other. It’s very important, even when there’s separation behind the scenes — neighborhood politics, shit like that. But I don’t deal with that, I’m older now. As far as the community of us out here, it’s beautiful. I’m just trying to boost people’s spirits up. That’s what I’m here for. I’m the big bro. I’ve been around Bern and Fab since the beginning of they shit. Bern and I started our brands around the same time. That’s my people.\u003c/p>\n\u003cp>\u003cstrong>There has been a wave of Bay Area rappers going into the food and beverage industry. Why do you think that is?\u003c/strong>\u003c/p>\n\u003cp>As you get older, things change. Rap is cool, but I’ve been doing it 30 years. I got to build businesses outside of that. My fans can come to this now. As a whole rap community, we get fans from each other, and that brings more awareness to what we’re all doing. You get older, you know. I’m in my 40s. We got our core fanbases but those checks ain’t what they used to be for me. It’s just different. I started a streetwear clothing line 10 years ago, \u003ca href=\"https://www.cbcbrand.com/shop-1?page=2\">Chemical Baby\u003c/a>. I also got an equity cannabis license with \u003ca href=\"https://www.2tookfarms.com/\">2Took Farms\u003c/a> and we distribute with Cookies. I’m juggling a few businesses, bro.\u003c/p>\n\u003cfigure id=\"attachment_13922642\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_6208-800x533.jpg\" alt='a cook \"mashes\" a burger patty by flattening it with an iron press on the grill' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_6208-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A cook at Big Mafi Burger “mashes” two beef patties on the grill. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s next for Big Mafi Burgers?\u003c/strong>\u003c/p>\n\u003cp>We’re doing pop-ups right now but we’re working on getting a ghost kitchen in SoMa next year. We’ll be doing takeout from that location, and we’ll announce that at the start of 2023. Hopefully we can get us a brick-and-mortar one day. That’s our goal. But for now I’m also working on a deli, Celly’s Deli, and a soul food kitchen, Eassie Mae’s soul food, which are all my grandmother’s recipes. We’ll be running it all out of the same kitchen. People can come through and pick up, or get delivery.\u003c/p>\n\u003cp>We’re doing a pop-up with Vegan Mob in a few weeks with an all-vegan menu. We’re also doing First Fridays at Dope Era again. We sold out the first time. I’ll also be selling burgers in the 49ers parking lot. I’m performing at the game this Sunday [11/27], so they told me to pull up with the burgers. We do private parties and events, too. We’ll be off during the holidays but we’ll be back in January and then get into the new kitchen. Once we get in there we’ll be on a roll, baby.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/bigmafiburgers/\">\u003ci>Big Mafi Burgers\u003c/i>\u003c/a>\u003ci> is currently serving at pop-up events around the Bay. They will appear next at the Byxbee Park toy drive (2375 Embarcadero Rd, Palo Alto) on Dec. 16 from 11 a.m. to 5 p.m.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At SOMArts, 'The Indigo Project' Weaves the Threads of Black History",
"headTitle": "At SOMArts, ‘The Indigo Project’ Weaves the Threads of Black History | KQED",
"content": "\u003cp>The leaves from indigo trees have been used to dye fabric for ages. Through this one plant, one can tell the story of royalty, enslavement and the African diaspora.\u003c/p>\n\u003cp>The use of indigo dye reportedly originated in India. But for centuries it’s been used amongst nobles in West Africa, where fabrics were made so appealing they were once \u003ca href=\"https://www.npr.org/2011/11/07/142094103/indigo-the-indelible-color-that-ruled-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">used as currency\u003c/a>. When enslaved Africans were brought to the United States, their ability to harvest and use indigo was at one point more lucrative than cotton.\u003c/p>\n\u003cp>Now, in an exhibition at SOMArts titled \u003cem>\u003ca href=\"https://somarts.org/event/theindigoproject/\">The Indigo Project\u003c/a>\u003c/em>, a duo of Bay Area-based curators explore the common thread between African descendants in the United States, deep blue dye, and the fabrics we use for art and fashion.\u003c/p>\n\u003cp>Reflecting this history through an art exhibit is an idea that initially came to \u003ca href=\"https://linktr.ee/Bushmama\" target=\"_blank\" rel=\"noopener noreferrer\">Bushmama Africa\u003c/a>, an artist and community priest, as she sat in New Orleans’ Congress Square on Halloween in 2017. While she can trace her family’s lineage back to the area, she says, she was looking for something deeper than DNA. She was on a spiritual mission.\u003c/p>\n\u003cp>“I needed to figure out what was the thread between indigo, denim and cotton, as it relates to us as Africans and African Americans,” says Bushmama.\u003c/p>\n\u003cfigure id=\"attachment_13922568\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13922568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/closeline-1020x1194.jpg\" alt='\"Clothesline\" by Abayomi Anli' width=\"480\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-1020x1194.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-800x936.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-768x899.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline.jpg 1080w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">‘Clothesline,’ by Abayomi Anli. \u003ccite>(Abayomi Anli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began reading and researching, as well as reaching out to people like \u003ca href=\"https://linktr.ee/sagebae333\" target=\"_blank\" rel=\"noopener noreferrer\">Isha Rosemond\u003c/a>. A post-disciplinary artist and founder of the\u003ca href=\"https://blackfreedomfellowship.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Freedom Fellowship\u003c/a>, Rosemond is no stranger to the overlap of art and the African diaspora — whether raising funds for artists in Haiti through the \u003ca href=\"https://blackfreedomfellowship.com/black-freedom-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freedom Fund\u003c/a>, or being an an artist in residence in the Brazilian organization \u003ca href=\"https://mirantexiquexique.org/isha-rosemond/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirante Xique Xique\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The idea clicked (Bushmama calls Rosemond a “spiritual goddaughter”), and a collaboration for \u003cem>The Indigo Project\u003c/em> was born.\u003c/p>\n\u003cp>When asked what attendees should expect, Bushmama says, “They’re going to see a lot of blue.” Laughing and continuing, she adds, “Not so much so that they’re over-inundated. The walls are mostly white. But we threw blue in there where it needed to be.”\u003c/p>\n\u003cfigure id=\"attachment_13922595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg\" alt=\"Two separate headshots in diptych, both showing Black women stylishly dressed and adorned in indigo \" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots.jpg 1752w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Bushmama Africa and Isha Rosemond of ‘The Indigo Project.’ \u003ccite>(Courtesy Photos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By using visual art, audio recordings and artistic lighting, Bushmama and Rosemond aim to lead people on a spiritual journey. Bushmama predicts that eventgoers will “see their grandparents in the faces of some of these people. They’re going to feel some tingles and some moans.”\u003c/p>\n\u003cp>“The opening is an \u003cem>opening\u003c/em> in the most literal sense,” says Rosemond, noting that it’s the end of the year, and with an end comes the beginning of something new.\u003c/p>\n\u003cp>It also nods to a holiday celebration unlike any other: “It’s the one where they gave the people in the field a day of rest, where they could eat and make merriment with each other,” says Bushmama. “This is how they stayed fortified and strong throughout all the oppression they endured.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Indigo Project,’ with works from Abayomi Anli, Nikesha Breeze, Ashara Ekundayo, Stephen Hamilton, Courtney Desiree Morris, Rachel Parrish, Bryan Keith Thomas, Bushmama Africa and Isha Rosemond, runs Dec. 9–Feb. 5 at SOMArts in San Francisco. A \u003ca href=\"https://www.eventbrite.com/e/the-indigo-project-opening-reception-tickets-468758648737\">free opening reception\u003c/a> is on Friday, Dec. 9, from 6 p.m.–9 p.m. \u003ca href=\"https://somarts.org/event/theindigoproject/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The leaves from indigo trees have been used to dye fabric for ages. Through this one plant, one can tell the story of royalty, enslavement and the African diaspora.\u003c/p>\n\u003cp>The use of indigo dye reportedly originated in India. But for centuries it’s been used amongst nobles in West Africa, where fabrics were made so appealing they were once \u003ca href=\"https://www.npr.org/2011/11/07/142094103/indigo-the-indelible-color-that-ruled-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">used as currency\u003c/a>. When enslaved Africans were brought to the United States, their ability to harvest and use indigo was at one point more lucrative than cotton.\u003c/p>\n\u003cp>Now, in an exhibition at SOMArts titled \u003cem>\u003ca href=\"https://somarts.org/event/theindigoproject/\">The Indigo Project\u003c/a>\u003c/em>, a duo of Bay Area-based curators explore the common thread between African descendants in the United States, deep blue dye, and the fabrics we use for art and fashion.\u003c/p>\n\u003cp>Reflecting this history through an art exhibit is an idea that initially came to \u003ca href=\"https://linktr.ee/Bushmama\" target=\"_blank\" rel=\"noopener noreferrer\">Bushmama Africa\u003c/a>, an artist and community priest, as she sat in New Orleans’ Congress Square on Halloween in 2017. While she can trace her family’s lineage back to the area, she says, she was looking for something deeper than DNA. She was on a spiritual mission.\u003c/p>\n\u003cp>“I needed to figure out what was the thread between indigo, denim and cotton, as it relates to us as Africans and African Americans,” says Bushmama.\u003c/p>\n\u003cfigure id=\"attachment_13922568\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13922568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/closeline-1020x1194.jpg\" alt='\"Clothesline\" by Abayomi Anli' width=\"480\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-1020x1194.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-800x936.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-768x899.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline.jpg 1080w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">‘Clothesline,’ by Abayomi Anli. \u003ccite>(Abayomi Anli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began reading and researching, as well as reaching out to people like \u003ca href=\"https://linktr.ee/sagebae333\" target=\"_blank\" rel=\"noopener noreferrer\">Isha Rosemond\u003c/a>. A post-disciplinary artist and founder of the\u003ca href=\"https://blackfreedomfellowship.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Freedom Fellowship\u003c/a>, Rosemond is no stranger to the overlap of art and the African diaspora — whether raising funds for artists in Haiti through the \u003ca href=\"https://blackfreedomfellowship.com/black-freedom-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freedom Fund\u003c/a>, or being an an artist in residence in the Brazilian organization \u003ca href=\"https://mirantexiquexique.org/isha-rosemond/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirante Xique Xique\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The idea clicked (Bushmama calls Rosemond a “spiritual goddaughter”), and a collaboration for \u003cem>The Indigo Project\u003c/em> was born.\u003c/p>\n\u003cp>When asked what attendees should expect, Bushmama says, “They’re going to see a lot of blue.” Laughing and continuing, she adds, “Not so much so that they’re over-inundated. The walls are mostly white. But we threw blue in there where it needed to be.”\u003c/p>\n\u003cfigure id=\"attachment_13922595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg\" alt=\"Two separate headshots in diptych, both showing Black women stylishly dressed and adorned in indigo \" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots.jpg 1752w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Bushmama Africa and Isha Rosemond of ‘The Indigo Project.’ \u003ccite>(Courtesy Photos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By using visual art, audio recordings and artistic lighting, Bushmama and Rosemond aim to lead people on a spiritual journey. Bushmama predicts that eventgoers will “see their grandparents in the faces of some of these people. They’re going to feel some tingles and some moans.”\u003c/p>\n\u003cp>“The opening is an \u003cem>opening\u003c/em> in the most literal sense,” says Rosemond, noting that it’s the end of the year, and with an end comes the beginning of something new.\u003c/p>\n\u003cp>It also nods to a holiday celebration unlike any other: “It’s the one where they gave the people in the field a day of rest, where they could eat and make merriment with each other,” says Bushmama. “This is how they stayed fortified and strong throughout all the oppression they endured.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Indigo Project,’ with works from Abayomi Anli, Nikesha Breeze, Ashara Ekundayo, Stephen Hamilton, Courtney Desiree Morris, Rachel Parrish, Bryan Keith Thomas, Bushmama Africa and Isha Rosemond, runs Dec. 9–Feb. 5 at SOMArts in San Francisco. A \u003ca href=\"https://www.eventbrite.com/e/the-indigo-project-opening-reception-tickets-468758648737\">free opening reception\u003c/a> is on Friday, Dec. 9, from 6 p.m.–9 p.m. \u003ca href=\"https://somarts.org/event/theindigoproject/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Most Memorable Sunset of the Year",
"headTitle": "The Most Memorable Sunset of the Year | KQED",
"content": "\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year. Here, in a year of endless freeway commutes and big-city gridlock, correspondent Pendarvis Harshaw honors the spiritual regeneration of a well-timed sunset.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone asks you the best place to watch a sunset in Northern California, what do you say?\u003c/p>\n\u003cp>Driving down I-80 after leaving Tahoe? Sitting on a beach in Monterey? Pulled over somewhere on Hwy. 1, watching that big burning ball in the sky skinny dip into the Pacific?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">This year alone, I’ve seen the sunset from the fishing pier in Benicia, and Lone Tree Point in Rodeo. Have you ever been to San Jose’s Alviso Marina? With its wetlands, wide array of birds and murky waves, it’s like another world during the evening hours.\u003c/p>\n\u003cp>One of my personal top five favorite spots is the east side of Lake Merritt; I love watching the pelicans dive into the water as the sun dips behind the Alameda County Courthouse. And quiet as it’s kept, another personal favorite is the McDonalds parking lot on the hillside of Vallejo’s Magazine Street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This place we call home has so many large bodies of water, changes in elevation, amazing displays of architecture, and evenings of pleasant weather that you really can’t go wrong when it comes to a Northern California sunset. You could literally pull over at the intersection of Road 104 and Road 35 in Davis, among the cows, and fall in love with the colors of the sky.\u003c/p>\n\u003cfigure id=\"attachment_13922295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Davis.Sunset-800x587.jpg\" alt=\"The sun disappears behind the plains of Central California, the sky a burnt amber and blue\" width=\"800\" height=\"587\" class=\"size-medium wp-image-13922295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset.jpg 1885w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view after pulling over at Road 104 and Road 35 in Davis, among the cows. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he most memorable sunset of my year, though, involves an unfortunate carjacking on the Bay Bridge, a much-needed conversation about the under-recognized legacy of San Francisco gangsta rap, and getting blasted by sand on Ocean Beach.\u003c/p>\n\u003cp>The story starts in a boutique hip-hop clothing shop in San Francisco’s Lakeview neighborhood. Varsity jackets and colorful hoodies line one wall, while the other bears a mural painted by \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Dregs One\u003c/a>. It’s a collage of Bay Area rappers who’ve transitioned to ancestor-hood. I’m in the middle of the store chopping it up with the shop owner, \u003ca href=\"https://www.instagram.com/cellski415/?hl=en\">Cellski\u003c/a>, a San Francisco rap icon whose career spans four decades.\u003c/p>\n\u003cp>He’s telling me about the history of rappers and dope dealers in the City. That leads to a conversation about Chemical Baby, Cellski’s clothing line, a name inspired by the toxic dirt and water found in his community, as well as the drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922284\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_8555-1020x1360.jpg\" alt=\"San Francisco hip-hop legend Cellski, at his boutique clothing store in Lakeview.\" width=\"640\" height=\"853\" class=\"size-large wp-image-13922284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-scaled.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco hip-hop legend Cellski at his boutique clothing store in Lakeview. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We talk about some of his upcoming plans, and then I shake his hand and head toward the door, ready to drive back to Sacramento. He warns me about traffic. On top of the usual 5 p.m. gridlock, apparently there’d been\u003ca href=\"https://www.kron4.com/news/bay-area/chp-looks-for-armed-carjacking-suspect-on-bay-bridge/\"> a carjacking on the Bay Bridge\u003c/a> earlier that day, and The City was a shitshow.\u003c/p>\n\u003cp>So I decide to kill time by grabbing a slice from Northgate Pizza and hitting Ocean Beach. That’s where I messed up. The wind and sand combined to drop a diss track that my car still hasn’t recovered from. The song goes: “Sand in my beard and in my Thermos / Sand all over my clothes and my epidermis.”\u003c/p>\n\u003cp>Beach trip truncated and traffic still a mess, I decide on an alternate route: across the Golden Gate Bridge, up 101 and over Hwy. 37 from Novato to Vallejo. From there, I figure, I can catch 80 and bypass the gridlock as I head back to Sac — and I get more than I bargained for.\u003c/p>\n\u003cfigure id=\"attachment_13922300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-800x590.jpg\" alt=\"The sun sets behind the skyline of Oakland's downtown with Lake Merritt in the foreground\" width=\"800\" height=\"590\" class=\"size-medium wp-image-13922300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1536x1133.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-2048x1510.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1920x1416.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lake Merritt, Oakland’s jewel. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he afternoon conversation with the Lakeview lyricist inspired my evening playlist. I slap a couple tracks from Cellski, then 11/5, Cougnut, and an RBL Posse track or two. With early- to mid-’90s Frisco gangsta rap blasting through the speakers of my midsize hybrid, I hit Hwy. 37 right at golden hour.\u003c/p>\n\u003cp>Driving east, the sunset in my rearview, I watch as the spring sky turns beaming, brilliant shades of Baskin-Robbins Rainbow Sherbet and Starburst Passion Fruit purple.\u003c/p>\n\u003cp>California State Route 37 is low-lying, two-lane highway that runs along the northern edge of San Pablo Bay. It’s surrounded by marshy wetlands and a series of sloughs, as well as the Napa River. The water ripples up right next to the road. The cautious mind wonders \u003ca href=\"https://www.pressdemocrat.com/article/news/highway-37-could-be-under-water-decades-from-now-heres-caltrans-solution/\">how long this infrastructure will hold against rising tides\u003c/a>. The imaginative mind feels like it’s riding atop the waves of the Bay.\u003c/p>\n\u003cp>But the present mind enjoys the classic SF gangsta rap reverberating through the stock sound system as the sun sets in my rearview mirror. \u003cem>There’s a bluebird on my shoulder, should I kill it?\u003c/em>\u003c/p>\n\u003cp>With all the photos I’ve taken of sunsets this year, that’s the one I didn’t take. Probably safer to take a pass on getting a pixelated image of a gigantic star burning 91 million miles away, while driving 70 miles per hour on a giant rotating rock. (It would’ve been really, really pretty tho.)\u003c/p>\n\u003cp>Reflecting on this year and all the sunsets I’ve seen, so many of them were background visuals for my lengthy commute. Every once in a while, I’d get to a specific spot, face toward the west, and watch nature’s daily magic happen.\u003c/p>\n\u003cp>And yet my most memorable sunset of the year, I watched as I drove in the opposite direction. How lucky are we? There are so many beautiful places to watch the sunset here in the Bay Area that we can literally turn our back, and it’s still one of the prettiest sights in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year. Here, in a year of endless freeway commutes and big-city gridlock, correspondent Pendarvis Harshaw honors the spiritual regeneration of a well-timed sunset.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone asks you the best place to watch a sunset in Northern California, what do you say?\u003c/p>\n\u003cp>Driving down I-80 after leaving Tahoe? Sitting on a beach in Monterey? Pulled over somewhere on Hwy. 1, watching that big burning ball in the sky skinny dip into the Pacific?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">This year alone, I’ve seen the sunset from the fishing pier in Benicia, and Lone Tree Point in Rodeo. Have you ever been to San Jose’s Alviso Marina? With its wetlands, wide array of birds and murky waves, it’s like another world during the evening hours.\u003c/p>\n\u003cp>One of my personal top five favorite spots is the east side of Lake Merritt; I love watching the pelicans dive into the water as the sun dips behind the Alameda County Courthouse. And quiet as it’s kept, another personal favorite is the McDonalds parking lot on the hillside of Vallejo’s Magazine Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This place we call home has so many large bodies of water, changes in elevation, amazing displays of architecture, and evenings of pleasant weather that you really can’t go wrong when it comes to a Northern California sunset. You could literally pull over at the intersection of Road 104 and Road 35 in Davis, among the cows, and fall in love with the colors of the sky.\u003c/p>\n\u003cfigure id=\"attachment_13922295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Davis.Sunset-800x587.jpg\" alt=\"The sun disappears behind the plains of Central California, the sky a burnt amber and blue\" width=\"800\" height=\"587\" class=\"size-medium wp-image-13922295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset.jpg 1885w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view after pulling over at Road 104 and Road 35 in Davis, among the cows. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he most memorable sunset of my year, though, involves an unfortunate carjacking on the Bay Bridge, a much-needed conversation about the under-recognized legacy of San Francisco gangsta rap, and getting blasted by sand on Ocean Beach.\u003c/p>\n\u003cp>The story starts in a boutique hip-hop clothing shop in San Francisco’s Lakeview neighborhood. Varsity jackets and colorful hoodies line one wall, while the other bears a mural painted by \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Dregs One\u003c/a>. It’s a collage of Bay Area rappers who’ve transitioned to ancestor-hood. I’m in the middle of the store chopping it up with the shop owner, \u003ca href=\"https://www.instagram.com/cellski415/?hl=en\">Cellski\u003c/a>, a San Francisco rap icon whose career spans four decades.\u003c/p>\n\u003cp>He’s telling me about the history of rappers and dope dealers in the City. That leads to a conversation about Chemical Baby, Cellski’s clothing line, a name inspired by the toxic dirt and water found in his community, as well as the drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922284\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_8555-1020x1360.jpg\" alt=\"San Francisco hip-hop legend Cellski, at his boutique clothing store in Lakeview.\" width=\"640\" height=\"853\" class=\"size-large wp-image-13922284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-scaled.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco hip-hop legend Cellski at his boutique clothing store in Lakeview. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We talk about some of his upcoming plans, and then I shake his hand and head toward the door, ready to drive back to Sacramento. He warns me about traffic. On top of the usual 5 p.m. gridlock, apparently there’d been\u003ca href=\"https://www.kron4.com/news/bay-area/chp-looks-for-armed-carjacking-suspect-on-bay-bridge/\"> a carjacking on the Bay Bridge\u003c/a> earlier that day, and The City was a shitshow.\u003c/p>\n\u003cp>So I decide to kill time by grabbing a slice from Northgate Pizza and hitting Ocean Beach. That’s where I messed up. The wind and sand combined to drop a diss track that my car still hasn’t recovered from. The song goes: “Sand in my beard and in my Thermos / Sand all over my clothes and my epidermis.”\u003c/p>\n\u003cp>Beach trip truncated and traffic still a mess, I decide on an alternate route: across the Golden Gate Bridge, up 101 and over Hwy. 37 from Novato to Vallejo. From there, I figure, I can catch 80 and bypass the gridlock as I head back to Sac — and I get more than I bargained for.\u003c/p>\n\u003cfigure id=\"attachment_13922300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-800x590.jpg\" alt=\"The sun sets behind the skyline of Oakland's downtown with Lake Merritt in the foreground\" width=\"800\" height=\"590\" class=\"size-medium wp-image-13922300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1536x1133.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-2048x1510.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1920x1416.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lake Merritt, Oakland’s jewel. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he afternoon conversation with the Lakeview lyricist inspired my evening playlist. I slap a couple tracks from Cellski, then 11/5, Cougnut, and an RBL Posse track or two. With early- to mid-’90s Frisco gangsta rap blasting through the speakers of my midsize hybrid, I hit Hwy. 37 right at golden hour.\u003c/p>\n\u003cp>Driving east, the sunset in my rearview, I watch as the spring sky turns beaming, brilliant shades of Baskin-Robbins Rainbow Sherbet and Starburst Passion Fruit purple.\u003c/p>\n\u003cp>California State Route 37 is low-lying, two-lane highway that runs along the northern edge of San Pablo Bay. It’s surrounded by marshy wetlands and a series of sloughs, as well as the Napa River. The water ripples up right next to the road. The cautious mind wonders \u003ca href=\"https://www.pressdemocrat.com/article/news/highway-37-could-be-under-water-decades-from-now-heres-caltrans-solution/\">how long this infrastructure will hold against rising tides\u003c/a>. The imaginative mind feels like it’s riding atop the waves of the Bay.\u003c/p>\n\u003cp>But the present mind enjoys the classic SF gangsta rap reverberating through the stock sound system as the sun sets in my rearview mirror. \u003cem>There’s a bluebird on my shoulder, should I kill it?\u003c/em>\u003c/p>\n\u003cp>With all the photos I’ve taken of sunsets this year, that’s the one I didn’t take. Probably safer to take a pass on getting a pixelated image of a gigantic star burning 91 million miles away, while driving 70 miles per hour on a giant rotating rock. (It would’ve been really, really pretty tho.)\u003c/p>\n\u003cp>Reflecting on this year and all the sunsets I’ve seen, so many of them were background visuals for my lengthy commute. Every once in a while, I’d get to a specific spot, face toward the west, and watch nature’s daily magic happen.\u003c/p>\n\u003cp>And yet my most memorable sunset of the year, I watched as I drove in the opposite direction. How lucky are we? There are so many beautiful places to watch the sunset here in the Bay Area that we can literally turn our back, and it’s still one of the prettiest sights in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-backyard-richmond-outdoor-restaurant-hardware-store-burgers-breakfast-sandwiches",
"title": "A New Outdoor Restaurant Promises Comfort Food and Music — Behind a Hardware Store in Richmond",
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"headTitle": "A New Outdoor Restaurant Promises Comfort Food and Music — Behind a Hardware Store in Richmond | KQED",
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"content": "\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>It’s not every day that an outdoor dining spot pops up in the back cuts of Richmond. But near the Chevron refinery and train yards, tucked between the marina’s port and Highway 580, you’ll find a new gathering place for food, drinks and live music: \u003ca href=\"https://www.instagram.com/richmondbackyard/\">the Backyard\u003c/a>.\u003c/p>\n\u003cp>Hidden in an unassuming lot behind the \u003ca href=\"https://www.acehardware.com/store-details/17792\">Whale Point Marine & Hardware\u003c/a> store — where day laborers, fishermen and construction workers pull up for specialty work wear and supplies — the Backyard feels like a quirky oasis surrounded by industrial grit.\u003c/p>\n\u003cp>With lawn games, spacious outdoor seating, a music system that slaps, a large stage, palm trees and splashes of vibrant color that pop in contrast to the surrounding steel and chain-link fences, the venue promises to be a fun, family-friendly place to chill while grubbing on burgers, sandwiches and small shared bites. There’s a plan to project movies at night, too.\u003c/p>\n\u003cp>During the Backyard’s grand opening two weeks ago, \u003ca href=\"https://www.instagram.com/khruangbin/\">Khruangbin\u003c/a>’s psychedelic guitar riffs blared from surrounding speakers to a small crowd of patrons, who — like me — lined up outside of the business’s converted Airstream trailer to order lunch. Even on its first day, the spot was already serving as a restful gathering place for construction workers, young parents, elderly couples and anyone else who needed a break. As 16-wheelers rumbled along Cutting Boulevard, I soaked in a rare beam of sunshine and grubbed on “the Backyard Burger,” a classic cheeseburger with pickled onions and special house sauce served on an Acme bun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It all felt appropriately Richmond — seeing cranes and shipping containers across the street while enjoying a no-frills burger that was cooked up in a food truck next to a gravelly lot.\u003c/p>\n\u003cfigure id=\"attachment_13921652\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/backyard_burger-800x533.jpg\" alt=\"a burger and order of fries on a paper tray on a table at an outdoor eatery in Richmond\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Backyard Burger is a staple menu item. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Backyard’s arrival signals the addition of yet another food joint outside of \u003ca href=\"https://www.kqed.org/forum/2010101887986/exploring-richmonds-taco-corridor-and-more-with-luke-tsai\">Richmond’s traditional food corridors\u003c/a> like 23rd St., where Mexican and Central American flavors are as abundant as they are in the Mission and Fruitvale. It’s a sign of Richmond’s growing craft food and beverage scene happening along the city’s periphery, where small businesses like \u003ca href=\"https://www.kqed.org/arts/13914400/el-garage-armistice-brewing-mangonada-beer-richmond\">Armistice Brewing\u003c/a>, \u003ca href=\"https://www.instagram.com/eastbrotherbeer/\">East Brother Beer\u003c/a>, \u003ca href=\"https://www.instagram.com/explore/locations/1035426537/far-west-cider-co/\">Far West Cider\u003c/a> and \u003ca href=\"https://www.instagram.com/rockyislandoysterco/\">Rocky Island Oyster Co.\u003c/a> have all found a home, despite being relatively out of sight and off the grid.\u003c/p>\n\u003cp>As with many independent \u003ca href=\"https://www.kqed.org/forum/2010101891054/finding-amazing-food-in-unlikely-places\">food businesses that are located in unexpected places\u003c/a>, the Backyard runs the risk of being overlooked (see: Black Star Pirate BBQ, the barbecue destination in nearby Point San Pablo that \u003ca href=\"https://www.eastbaytimes.com/2022/10/04/black-star-pirate-bbq-in-richmonds-san-pablo-harbor-to-close-in-november/\">recently lost its lease\u003c/a>). But the Backyard owner Emmet Kauffman, a San Francisco born-and-bred entrepreneur, is used to the grind and ready to embrace the challenge.\u003c/p>\n\u003cp>Here’s what the painter-turned-backyard-chef has to say about Richmond’s latest spot.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>ALAN CHAZARO: \u003c/b>Congratulations on opening this month. Tell us about the Backyard and your vision for this new space.\u003c/p>\n\u003cp>\u003cb>EMMET KAUFFMAN:\u003c/b> I want the Backyard to be a place for people to feel comfortable to come and not just have to buy a burger. If you need a place to hang out with your kids and let them run around and you want some small bites, you can do that.\u003c/p>\n\u003cp>The menu right now is simple, tight and delicious. I’m focusing on those hearty, number one items that people want. We have a solid breakfast menu in an industrial area. This is for your working-class people. You can pull up and get a breakfast sandwich with cheddar cheese, fluffy egg and sausage or bacon. You can add avocado and other toppings. We also have a breakfast box which is a deconstructed breakfast sandwich, with more eggs and a hash brown.\u003c/p>\n\u003cp>For lunch, we currently have two solid burgers: a Santa Fe burger and the Backyard burger. We have a BLT and a grilled cheese, too. We’re using Acme Bread from Berkeley, which is delicious. We also serve tartines [the restaurant’s take on a bruschetta], and we’re getting ready to expand that soon. Currently we have the margherita tartine. That’s my speciality: a bruschetta with goat cheese, cherry tomatoes, garlic, basil, balsamic. It’s like a fresh pizza. We also have avocado [toast] — micro greens, sauteed tomatoes, honey drizzle. We offer charcuterie boards, too — we call it a “cutting board,” since we’re on Cutting Blvd. in Richmond — but only on the weekends. It serves about four — a full spread with brie, salami, nuts, fruits. Something fun to share.\u003c/p>\n\u003cp>My dream restaurant would be like something in Barcelona. A full spread, tapas style. Fancy breads, tartines. That’s the direction we’re going in, and we’re just settling into our capacity.\u003c/p>\n\u003cp>\u003cb>When did your interest in food making begin?\u003c/b>\u003c/p>\n\u003cp>I was born and raised in San Francisco, and I was never the best at school. My mom tried getting me in programs that I could click with. She knew I had a passion for cooking. She got me into a program in Marin. They did an event at the Fillmore Jazz Festival when I was 17. I worked with Chef David Lawrence at \u003ca href=\"https://www.instagram.com/1300onfillmore/\">1300 on Fillmore\u003c/a>, and he spotted me out of everyone and told me to come back the next day. He had me make sweet potato gnocchi. I was a senior in high school, and he hired me to work on the line on the weekends without prior experience. That was it for me. I was there for three and a half years. In between that, my dad had his house remodeled, and the paint contractor was looking for workers. I got a job at a painting company when I was 19 and was working both jobs, 80- to 90-hour weeks.\u003c/p>\n\u003cfigure id=\"attachment_13921654\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921654 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/backyard_mural-800x533.jpg\" alt='a large mural that reads \"the Backyard\" is painted on the side of a wall in a large, outdoor space to eat' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Owner Emmet Kauffman, who used to be a painter, created the mural for the Backyard. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did your work as a painter complement your growth in the food industry?\u003c/b>\u003c/p>\n\u003cp>I went into painting full time and started managing a paint company [in San Francisco] at 19. I had a ton of experience, for about three years. Then I stopped painting and worked at Alexander’s Steakhouse, which had a Michelin star at the time. I got experience there, then joined the California National Guard. I focused on my military training. When I was 21, I started my own painting company [\u003ca href=\"http://kmanskreations.com/\">Kman’s Kreations\u003c/a>] and was in the National Guard for six years. I kept running my paint company for 10 years. COVID shook that up, and I wanted to rethink things.\u003c/p>\n\u003cp>I was priced out of San Francisco. A few years ago I moved to Richmond and saw an opportunity. The military allowed me to move to Richmond with the VA Loan. I fell in love here and took a leap by going back to my roots and passion with cooking. I’ve had over 10 years of experience running a business, building employees, working with clients and customers. This is my new passion project at 31. I still have time to fail (laughs). Food is the best kind of building. You can build it and then eat it and taste it. You can tweak it. It’s a form of art. It reminds me of painting in a way.\u003c/p>\n\u003cp>\u003cb>Do you still operate your painting business in San Francisco?\u003c/b>\u003c/p>\n\u003cp>COVID hit, and everyone went their own ways. I continued working on my own for the past two years. I got a text the other day to come paint a house (laughs). I actually have a product I invented called \u003ca href=\"https://www.sprayersaver.com/\">Sprayer Saver\u003c/a>. It’s a simple product that my brother and I started. It holds your bucket at an angle so you can get all that paint when you’re using a paint sprayer.\u003c/p>\n\u003cp>\u003cb>Is that how you ended up behind the Whale Point Marine & Hardware store? \u003c/b>\u003c/p>\n\u003cp>[aside postID='arts_13909648,arts_13914400,arts_13920831']Definitely. I’ve spent a lot of money at that hardware store (laughs). When I had the idea of creating [the Backyard], I was looking at other areas, but this area in Richmond was perfect. There is a lot getting built and bought very quickly here. I had a relationship with Jay [owner of Whale Point & Marine Hardware] because of my experience in painting. They also sell my product [Sprayer Saver]. He shot my idea down at first, but then a few days later he changed his mind and was down. That was it. I signed a contract and built it out as quickly as possible. It took me five months.\u003c/p>\n\u003cp>I did everything by myself: the fence, the mural, digging the palm trees, putting up the pergola and the foundation, moving everything, setting up the food trailers. It’s a true passion project. My dad would come out and water the palm trees when I was out of town. My brother helped put the fence together. My family is a big support. They’re all in San Francisco still but helped me get here.\u003c/p>\n\u003cp>\u003cb>What other events and surprises are you planning for the Backyard? \u003c/b>\u003c/p>\n\u003cp>In a week or two we’d like to book some live musicians. We’re figuring out a movie aspect as well. There are old, funky movies from the ’40s and ’50s that are in the public domain that we could project once it gets dark. The overall feel that I really want our neighbors to get is this being their own backyard. This is a regular spot to just hang out. No need to spend a ton of money when you go out. We’ll have bands, beer and wine soon. We want this to be a space that can be rented for events, with custom menus, too. We can create a special menu for you. Stuff like that.\u003c/p>\n\u003cfigure id=\"attachment_13921651\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921651\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/backyard_avocado_toast-800x533.jpg\" alt=\"an order of avocado toast is served on a paper tray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The avocado tartine is topped with micro greens, sautéed tomatoes, avocado and honey drizzle. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you like about living in Richmond compared to San Francisco? How did you end up on this side of the Bay Bridge?\u003c/b>\u003c/p>\n\u003cp>This is a better way to see the City. I didn’t have a ton of money, but enough to get a starter home here. I was driving around the Bay looking at homes, and I liked Richmond the most, especially down by the Marina. The opportunity presented itself, and I’m glad I ended up here. It reminds me of the Dogpatch [in San Francisco]. About 20 years ago [in what’s now Dogpatch], you could climb into abandoned industrial buildings. I always had a fondness for that. But now it’s like a hotspot in the city. That’s crazy to me. That’s how I see Richmond as a whole, from the industrial side. It’s like the last holdout in the Bay Area. There’s an opportunity for growth. That whole ferry area is growing. I have a fondness for what Frisco used to be, and this reminds me of that.\u003c/p>\n\u003cp>\u003cb>What motivates you to run a food business in the Bay Area, despite the high costs?\u003c/b>\u003c/p>\n\u003cp>Seven generations in California. Our great-great-grandfather was the 13th senator of California. My mom was born in San Francisco. This runs in my blood. My blood runs gold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/richmondbackyard/\">\u003ci>The Backyard\u003c/i>\u003c/a>\u003ci> is located at 205 Cutting Blvd., Richmond, behind Whale Point Marine & Hardware. It’s open Mon. through Thu. 8 a.m.–4 p.m. and Fri. through Sun. 8 a.m.–6 p.m.\u003c/i>\u003c/p>\n\n",
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"title": "The Backyard Promises Comfort Food and Music Behind a Hardware Store in Richmond | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>It’s not every day that an outdoor dining spot pops up in the back cuts of Richmond. But near the Chevron refinery and train yards, tucked between the marina’s port and Highway 580, you’ll find a new gathering place for food, drinks and live music: \u003ca href=\"https://www.instagram.com/richmondbackyard/\">the Backyard\u003c/a>.\u003c/p>\n\u003cp>Hidden in an unassuming lot behind the \u003ca href=\"https://www.acehardware.com/store-details/17792\">Whale Point Marine & Hardware\u003c/a> store — where day laborers, fishermen and construction workers pull up for specialty work wear and supplies — the Backyard feels like a quirky oasis surrounded by industrial grit.\u003c/p>\n\u003cp>With lawn games, spacious outdoor seating, a music system that slaps, a large stage, palm trees and splashes of vibrant color that pop in contrast to the surrounding steel and chain-link fences, the venue promises to be a fun, family-friendly place to chill while grubbing on burgers, sandwiches and small shared bites. There’s a plan to project movies at night, too.\u003c/p>\n\u003cp>During the Backyard’s grand opening two weeks ago, \u003ca href=\"https://www.instagram.com/khruangbin/\">Khruangbin\u003c/a>’s psychedelic guitar riffs blared from surrounding speakers to a small crowd of patrons, who — like me — lined up outside of the business’s converted Airstream trailer to order lunch. Even on its first day, the spot was already serving as a restful gathering place for construction workers, young parents, elderly couples and anyone else who needed a break. As 16-wheelers rumbled along Cutting Boulevard, I soaked in a rare beam of sunshine and grubbed on “the Backyard Burger,” a classic cheeseburger with pickled onions and special house sauce served on an Acme bun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It all felt appropriately Richmond — seeing cranes and shipping containers across the street while enjoying a no-frills burger that was cooked up in a food truck next to a gravelly lot.\u003c/p>\n\u003cfigure id=\"attachment_13921652\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/backyard_burger-800x533.jpg\" alt=\"a burger and order of fries on a paper tray on a table at an outdoor eatery in Richmond\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_burger.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Backyard Burger is a staple menu item. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Backyard’s arrival signals the addition of yet another food joint outside of \u003ca href=\"https://www.kqed.org/forum/2010101887986/exploring-richmonds-taco-corridor-and-more-with-luke-tsai\">Richmond’s traditional food corridors\u003c/a> like 23rd St., where Mexican and Central American flavors are as abundant as they are in the Mission and Fruitvale. It’s a sign of Richmond’s growing craft food and beverage scene happening along the city’s periphery, where small businesses like \u003ca href=\"https://www.kqed.org/arts/13914400/el-garage-armistice-brewing-mangonada-beer-richmond\">Armistice Brewing\u003c/a>, \u003ca href=\"https://www.instagram.com/eastbrotherbeer/\">East Brother Beer\u003c/a>, \u003ca href=\"https://www.instagram.com/explore/locations/1035426537/far-west-cider-co/\">Far West Cider\u003c/a> and \u003ca href=\"https://www.instagram.com/rockyislandoysterco/\">Rocky Island Oyster Co.\u003c/a> have all found a home, despite being relatively out of sight and off the grid.\u003c/p>\n\u003cp>As with many independent \u003ca href=\"https://www.kqed.org/forum/2010101891054/finding-amazing-food-in-unlikely-places\">food businesses that are located in unexpected places\u003c/a>, the Backyard runs the risk of being overlooked (see: Black Star Pirate BBQ, the barbecue destination in nearby Point San Pablo that \u003ca href=\"https://www.eastbaytimes.com/2022/10/04/black-star-pirate-bbq-in-richmonds-san-pablo-harbor-to-close-in-november/\">recently lost its lease\u003c/a>). But the Backyard owner Emmet Kauffman, a San Francisco born-and-bred entrepreneur, is used to the grind and ready to embrace the challenge.\u003c/p>\n\u003cp>Here’s what the painter-turned-backyard-chef has to say about Richmond’s latest spot.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>ALAN CHAZARO: \u003c/b>Congratulations on opening this month. Tell us about the Backyard and your vision for this new space.\u003c/p>\n\u003cp>\u003cb>EMMET KAUFFMAN:\u003c/b> I want the Backyard to be a place for people to feel comfortable to come and not just have to buy a burger. If you need a place to hang out with your kids and let them run around and you want some small bites, you can do that.\u003c/p>\n\u003cp>The menu right now is simple, tight and delicious. I’m focusing on those hearty, number one items that people want. We have a solid breakfast menu in an industrial area. This is for your working-class people. You can pull up and get a breakfast sandwich with cheddar cheese, fluffy egg and sausage or bacon. You can add avocado and other toppings. We also have a breakfast box which is a deconstructed breakfast sandwich, with more eggs and a hash brown.\u003c/p>\n\u003cp>For lunch, we currently have two solid burgers: a Santa Fe burger and the Backyard burger. We have a BLT and a grilled cheese, too. We’re using Acme Bread from Berkeley, which is delicious. We also serve tartines [the restaurant’s take on a bruschetta], and we’re getting ready to expand that soon. Currently we have the margherita tartine. That’s my speciality: a bruschetta with goat cheese, cherry tomatoes, garlic, basil, balsamic. It’s like a fresh pizza. We also have avocado [toast] — micro greens, sauteed tomatoes, honey drizzle. We offer charcuterie boards, too — we call it a “cutting board,” since we’re on Cutting Blvd. in Richmond — but only on the weekends. It serves about four — a full spread with brie, salami, nuts, fruits. Something fun to share.\u003c/p>\n\u003cp>My dream restaurant would be like something in Barcelona. A full spread, tapas style. Fancy breads, tartines. That’s the direction we’re going in, and we’re just settling into our capacity.\u003c/p>\n\u003cp>\u003cb>When did your interest in food making begin?\u003c/b>\u003c/p>\n\u003cp>I was born and raised in San Francisco, and I was never the best at school. My mom tried getting me in programs that I could click with. She knew I had a passion for cooking. She got me into a program in Marin. They did an event at the Fillmore Jazz Festival when I was 17. I worked with Chef David Lawrence at \u003ca href=\"https://www.instagram.com/1300onfillmore/\">1300 on Fillmore\u003c/a>, and he spotted me out of everyone and told me to come back the next day. He had me make sweet potato gnocchi. I was a senior in high school, and he hired me to work on the line on the weekends without prior experience. That was it for me. I was there for three and a half years. In between that, my dad had his house remodeled, and the paint contractor was looking for workers. I got a job at a painting company when I was 19 and was working both jobs, 80- to 90-hour weeks.\u003c/p>\n\u003cfigure id=\"attachment_13921654\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921654 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/backyard_mural-800x533.jpg\" alt='a large mural that reads \"the Backyard\" is painted on the side of a wall in a large, outdoor space to eat' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_mural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Owner Emmet Kauffman, who used to be a painter, created the mural for the Backyard. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did your work as a painter complement your growth in the food industry?\u003c/b>\u003c/p>\n\u003cp>I went into painting full time and started managing a paint company [in San Francisco] at 19. I had a ton of experience, for about three years. Then I stopped painting and worked at Alexander’s Steakhouse, which had a Michelin star at the time. I got experience there, then joined the California National Guard. I focused on my military training. When I was 21, I started my own painting company [\u003ca href=\"http://kmanskreations.com/\">Kman’s Kreations\u003c/a>] and was in the National Guard for six years. I kept running my paint company for 10 years. COVID shook that up, and I wanted to rethink things.\u003c/p>\n\u003cp>I was priced out of San Francisco. A few years ago I moved to Richmond and saw an opportunity. The military allowed me to move to Richmond with the VA Loan. I fell in love here and took a leap by going back to my roots and passion with cooking. I’ve had over 10 years of experience running a business, building employees, working with clients and customers. This is my new passion project at 31. I still have time to fail (laughs). Food is the best kind of building. You can build it and then eat it and taste it. You can tweak it. It’s a form of art. It reminds me of painting in a way.\u003c/p>\n\u003cp>\u003cb>Do you still operate your painting business in San Francisco?\u003c/b>\u003c/p>\n\u003cp>COVID hit, and everyone went their own ways. I continued working on my own for the past two years. I got a text the other day to come paint a house (laughs). I actually have a product I invented called \u003ca href=\"https://www.sprayersaver.com/\">Sprayer Saver\u003c/a>. It’s a simple product that my brother and I started. It holds your bucket at an angle so you can get all that paint when you’re using a paint sprayer.\u003c/p>\n\u003cp>\u003cb>Is that how you ended up behind the Whale Point Marine & Hardware store? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Definitely. I’ve spent a lot of money at that hardware store (laughs). When I had the idea of creating [the Backyard], I was looking at other areas, but this area in Richmond was perfect. There is a lot getting built and bought very quickly here. I had a relationship with Jay [owner of Whale Point & Marine Hardware] because of my experience in painting. They also sell my product [Sprayer Saver]. He shot my idea down at first, but then a few days later he changed his mind and was down. That was it. I signed a contract and built it out as quickly as possible. It took me five months.\u003c/p>\n\u003cp>I did everything by myself: the fence, the mural, digging the palm trees, putting up the pergola and the foundation, moving everything, setting up the food trailers. It’s a true passion project. My dad would come out and water the palm trees when I was out of town. My brother helped put the fence together. My family is a big support. They’re all in San Francisco still but helped me get here.\u003c/p>\n\u003cp>\u003cb>What other events and surprises are you planning for the Backyard? \u003c/b>\u003c/p>\n\u003cp>In a week or two we’d like to book some live musicians. We’re figuring out a movie aspect as well. There are old, funky movies from the ’40s and ’50s that are in the public domain that we could project once it gets dark. The overall feel that I really want our neighbors to get is this being their own backyard. This is a regular spot to just hang out. No need to spend a ton of money when you go out. We’ll have bands, beer and wine soon. We want this to be a space that can be rented for events, with custom menus, too. We can create a special menu for you. Stuff like that.\u003c/p>\n\u003cfigure id=\"attachment_13921651\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921651\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/backyard_avocado_toast-800x533.jpg\" alt=\"an order of avocado toast is served on a paper tray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/backyard_avocado_toast.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The avocado tartine is topped with micro greens, sautéed tomatoes, avocado and honey drizzle. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you like about living in Richmond compared to San Francisco? How did you end up on this side of the Bay Bridge?\u003c/b>\u003c/p>\n\u003cp>This is a better way to see the City. I didn’t have a ton of money, but enough to get a starter home here. I was driving around the Bay looking at homes, and I liked Richmond the most, especially down by the Marina. The opportunity presented itself, and I’m glad I ended up here. It reminds me of the Dogpatch [in San Francisco]. About 20 years ago [in what’s now Dogpatch], you could climb into abandoned industrial buildings. I always had a fondness for that. But now it’s like a hotspot in the city. That’s crazy to me. That’s how I see Richmond as a whole, from the industrial side. It’s like the last holdout in the Bay Area. There’s an opportunity for growth. That whole ferry area is growing. I have a fondness for what Frisco used to be, and this reminds me of that.\u003c/p>\n\u003cp>\u003cb>What motivates you to run a food business in the Bay Area, despite the high costs?\u003c/b>\u003c/p>\n\u003cp>Seven generations in California. Our great-great-grandfather was the 13th senator of California. My mom was born in San Francisco. This runs in my blood. My blood runs gold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/richmondbackyard/\">\u003ci>The Backyard\u003c/i>\u003c/a>\u003ci> is located at 205 Cutting Blvd., Richmond, behind Whale Point Marine & Hardware. It’s open Mon. through Thu. 8 a.m.–4 p.m. and Fri. through Sun. 8 a.m.–6 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Family and friends of Paul Madonna are rallying together after the beloved San Francisco artist and author was seriously injured in a hit-and-run collision in McLaren Park.\u003c/p>\n\u003cp>Madonna was making his daily drive home through the park when his smart car was struck by a Mercedes Benz driving at approximately 65 miles per hour in the wrong lane. After the Mercedes sped off, witnesses came to Madonna’s aid and called the emergency services, as well as his wife of 21 years, Joen. Madonna subsequently underwent four hours of emergency surgery to repair major internal injuries.\u003c/p>\n\u003cp>“It’s 10 days he’s been in the hospital and last night was the first night he was able to sit up in a chair and eat a meal,” Joen tells KQED Arts. “Paul is really strong, he’s very resilient. I feel like we’ve just turned the ship to where he understands that he’s the one that gets to dictate his recovery; that he will be able to do it. It’s the first day where he’s really been able to feel that kind of power and autonomy over his life again.”\u003c/p>\n\u003cp>In addition to his internal injuries — including a collapsed lung — Madonna also sustained a broken nose, a shattered right heel, injuries to his shoulder and leg, as well as a torn carotid artery and brain blood bleed. The artist was in the ICU for three days. He is expected to be in a wheelchair for several months.\u003c/p>\n\u003cp>Joen, the executive director of \u003ca href=\"https://www.artspan.org/home\">ArtSpan\u003c/a>, was due to travel to a speaking engagement the day of her husband’s accident. She feels fortunate that she wasn’t already mid-flight or in another city when the hit-and-run occurred, but is still reeling from the horror of that afternoon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Where the crash happened is about a quarter mile from where we live,” she says. “It is a very, very surreal experience to walk out the door and have sirens screaming down the street. And then going to the scene where your husband has just gotten some good Samaritans to call you. That phone call, he was just yelling ‘J, I’ve been hit! J, come! Come! I’ve been hit!’”\u003c/p>\n\u003cp>Joen arrived at McLaren Park in time to see Madonna placed in the ambulance, but was not permitted to accompany him because of COVID protocols. It took Joen three and a half hours to get a full explanation of her husband’s injuries. She spent that time with friends who happen to live across the street from SF General. Those friends have since provided her with a key so that she can come and go from their home as she needs, while Madonna remains in the hospital.\u003c/p>\n\u003cp>Visiting hours, even for Joen, remain restricted because of COVID protocols, but Madonna is already finding ways to reach his loved ones. “I have exchanged some texts with Paul, so he is communicative,” Madonna’s longtime friend John Hessen tells KQED Arts, “but he’s not ready to talk on the phone just yet. The one good piece of news that I did get is that his drawing hand was miraculously not injured, even though most of the rest of him was.”\u003c/p>\n\u003cp>News of the Nov. 6 accident came to light after the Madonnas’ friend Kathryn Patterson started a \u003ca href=\"https://www.gofundme.com/f/paul-madonna-recovery-fund?qid=8487383f5e421a2feaa65cc90bf0c399\">Go Fund Me campaign\u003c/a>. The fundraiser is asking for donations to help the couple with expenses as Madonna recovers from his substantial injuries, and Joen takes time off work to assist him. The campaign raised more than $72,000 in its first 24 hours.\u003c/p>\n\u003cp>[aside postid='arts_13914459']Hessen is encouraging those that want to help the Madonna family to either donate to the Go Fund Me campaign, or to buy books, prints and holiday gifts from \u003ca href=\"https://paul-madonna.myshopify.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Madonna’s website\u003c/a>. Hessen and other friends will be assisting Joen in filling those orders while the artist is unable to do so himself. “We’re going to fill the holes as needed,” Hessen says.\u003c/p>\n\u003cp>“Paul’s just one of those people you meet that really stands out,” Hessen continues. “He’s a genuine, kind, interesting, honest, good guy. He’s brilliantly talented as well. He’s just one of those people you want to hang onto if you get the chance.”\u003c/p>\n\u003cp>Madonna is best known for his \u003cem>All Over Coffee\u003c/em> column that ran for 11 years in the \u003cem>San Francisco Chronicle\u003c/em>. The artist has authored \u003ca href=\"https://paulmadonna.com/031016/page_books.htm\">eight books\u003c/a>, including \u003ca href=\"https://www.bloomsbury.com/us/spirits-of-san-francisco-9781635575880/\">\u003cem>Spirits of San Francisco\u003c/em>\u003c/a> and his most recent, \u003ca href=\"https://www.kqed.org/arts/13914459/paul-madonna-interview-all-over-coffee-san-francisco-you-know-exactly-review\">\u003cem>You Know Exactly\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>SFPD’s Accident Investigation Unit is currently investigating the hit-and-run. Joen hopes that felony charges for the Mercedes driver will result.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[SFPD] can’t tell us very much because it’s an active investigation,” Joen says. “But we really, really hope that justice is served. What Paul is going through, through no fault of his own, is an absolute crime.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Family and friends of Paul Madonna are rallying together after the beloved San Francisco artist and author was seriously injured in a hit-and-run collision in McLaren Park.\u003c/p>\n\u003cp>Madonna was making his daily drive home through the park when his smart car was struck by a Mercedes Benz driving at approximately 65 miles per hour in the wrong lane. After the Mercedes sped off, witnesses came to Madonna’s aid and called the emergency services, as well as his wife of 21 years, Joen. Madonna subsequently underwent four hours of emergency surgery to repair major internal injuries.\u003c/p>\n\u003cp>“It’s 10 days he’s been in the hospital and last night was the first night he was able to sit up in a chair and eat a meal,” Joen tells KQED Arts. “Paul is really strong, he’s very resilient. I feel like we’ve just turned the ship to where he understands that he’s the one that gets to dictate his recovery; that he will be able to do it. It’s the first day where he’s really been able to feel that kind of power and autonomy over his life again.”\u003c/p>\n\u003cp>In addition to his internal injuries — including a collapsed lung — Madonna also sustained a broken nose, a shattered right heel, injuries to his shoulder and leg, as well as a torn carotid artery and brain blood bleed. The artist was in the ICU for three days. He is expected to be in a wheelchair for several months.\u003c/p>\n\u003cp>Joen, the executive director of \u003ca href=\"https://www.artspan.org/home\">ArtSpan\u003c/a>, was due to travel to a speaking engagement the day of her husband’s accident. She feels fortunate that she wasn’t already mid-flight or in another city when the hit-and-run occurred, but is still reeling from the horror of that afternoon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Where the crash happened is about a quarter mile from where we live,” she says. “It is a very, very surreal experience to walk out the door and have sirens screaming down the street. And then going to the scene where your husband has just gotten some good Samaritans to call you. That phone call, he was just yelling ‘J, I’ve been hit! J, come! Come! I’ve been hit!’”\u003c/p>\n\u003cp>Joen arrived at McLaren Park in time to see Madonna placed in the ambulance, but was not permitted to accompany him because of COVID protocols. It took Joen three and a half hours to get a full explanation of her husband’s injuries. She spent that time with friends who happen to live across the street from SF General. Those friends have since provided her with a key so that she can come and go from their home as she needs, while Madonna remains in the hospital.\u003c/p>\n\u003cp>Visiting hours, even for Joen, remain restricted because of COVID protocols, but Madonna is already finding ways to reach his loved ones. “I have exchanged some texts with Paul, so he is communicative,” Madonna’s longtime friend John Hessen tells KQED Arts, “but he’s not ready to talk on the phone just yet. The one good piece of news that I did get is that his drawing hand was miraculously not injured, even though most of the rest of him was.”\u003c/p>\n\u003cp>News of the Nov. 6 accident came to light after the Madonnas’ friend Kathryn Patterson started a \u003ca href=\"https://www.gofundme.com/f/paul-madonna-recovery-fund?qid=8487383f5e421a2feaa65cc90bf0c399\">Go Fund Me campaign\u003c/a>. The fundraiser is asking for donations to help the couple with expenses as Madonna recovers from his substantial injuries, and Joen takes time off work to assist him. The campaign raised more than $72,000 in its first 24 hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hessen is encouraging those that want to help the Madonna family to either donate to the Go Fund Me campaign, or to buy books, prints and holiday gifts from \u003ca href=\"https://paul-madonna.myshopify.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Madonna’s website\u003c/a>. Hessen and other friends will be assisting Joen in filling those orders while the artist is unable to do so himself. “We’re going to fill the holes as needed,” Hessen says.\u003c/p>\n\u003cp>“Paul’s just one of those people you meet that really stands out,” Hessen continues. “He’s a genuine, kind, interesting, honest, good guy. He’s brilliantly talented as well. He’s just one of those people you want to hang onto if you get the chance.”\u003c/p>\n\u003cp>Madonna is best known for his \u003cem>All Over Coffee\u003c/em> column that ran for 11 years in the \u003cem>San Francisco Chronicle\u003c/em>. The artist has authored \u003ca href=\"https://paulmadonna.com/031016/page_books.htm\">eight books\u003c/a>, including \u003ca href=\"https://www.bloomsbury.com/us/spirits-of-san-francisco-9781635575880/\">\u003cem>Spirits of San Francisco\u003c/em>\u003c/a> and his most recent, \u003ca href=\"https://www.kqed.org/arts/13914459/paul-madonna-interview-all-over-coffee-san-francisco-you-know-exactly-review\">\u003cem>You Know Exactly\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>SFPD’s Accident Investigation Unit is currently investigating the hit-and-run. Joen hopes that felony charges for the Mercedes driver will result.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[SFPD] can’t tell us very much because it’s an active investigation,” Joen says. “But we really, really hope that justice is served. What Paul is going through, through no fault of his own, is an absolute crime.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Michelin-Starred Chef's New Korean Lager Is Brewed Right Here in San Francisco",
"headTitle": "This Michelin-Starred Chef’s New Korean Lager Is Brewed Right Here in San Francisco | KQED",
"content": "\u003cp>Here’s a Bay Area food fact: Our region is home to Corey Lee, the first Korean chef in the world to be awarded with three Michelin stars — and also the first San Francisco chef of any background to reach that milestone when Benu, Lee’s flagship restaurant, first took the honor in 2014.\u003c/p>\n\u003cp>But Lee’s culinary reach doesn’t simply boil down to symbolic gestures, and he does more than serve elevated ingredients on a plate. When he opened San Ho Won — the chef’s first explicitly Korean restaurant — in the Mission District last year, Lee wanted to go beyond the kitchen to accentuate the food’s traditional Korean flavors. That’s the idea behind the restaurant’s latest offering: a fresh Korean lager brewed in collaboration with San Francisco’s Fort Point Beer Company.\u003c/p>\n\u003cfigure id=\"attachment_13921464\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-800x1120.jpg\" alt=\"Michellin-starred chef, Corey Lee, poses casually for a photo\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-1097x1536.jpg 1097w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-1463x2048.jpg 1463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-1920x2688.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-scaled.jpg 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Corey Lee, who teamed up with Fort Point Beer Co. to create a Korean lager for his restaurant, San Ho Won. \u003ccite>(Aya Brackett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the direction of day-to-day chef Jeongin Hwang, San Ho Won is known for its upscale, seasonal take on Korean-style charcoal barbecue, with classics like galbi and osam bulgogi (grilled pork belly with spicy squid). Now, the restaurant can also offer a signature Korean beer that reminds Lee of his birthplace in South Korea.\u003c/p>\n\u003cp>“We wanted a beer that pairs generally well with Korean cuisine and [is] well-suited for Korean drinking customs,” Lee says about his collaboration with Fort Point. “Korean drinking culture is connected to food. We rarely have drinks without food, so we wanted to make a beer that was versatile.”\u003c/p>\n\u003cp>The result of a six-month process of research, tasting and flavor development, the “SHW” is a 4.6% ABV Korean lager — a style of beer that’s highlighted by its light, crisp body. The beverage will be exclusively available at San Ho Won, as well as Fort Point’s San Francisco locations in the Mission, the Presidio and the Ferry Building.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To celebrate their collaborative efforts, Chef Lee and his San Ho Won squad will take over Fort Point Valencia on Nov. 14 for “Ssam Bar and Somaek” — a unique experience centered on Korean bites and communal drinking.\u003c/p>\n\u003cfigure id=\"attachment_13921465\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921465 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/shw_fort_point-3-800x534.jpg\" alt=\"a table of Korean food with a beer being poured into a glass\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SHW was brewed with Korean food and communal drinking culture in mind. \u003ccite>(Fort Point Beer Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SHW lager was specifically made with somaek — a cocktail made by combining soju and light beer — in mind. At the Fort Point event, the drink will be served with small plates such as assorted ssams (lettuce wraps), including pork belly served with sesame leaf and radish saengchae (a Korean mixed vegetable salad). Other dishes will include hwedupbap (assorted raw fish and vegetables over steamed rice) and crispy cauliflower gangjeong (a deep-fried treat, coated with garlic soy glaze). But the beer will be the central star of the night.\u003c/p>\n\u003cp>“Earlier in my career when I worked in French restaurants, it was important to develop dishes and offer a menu that allowed people to enjoy a variety of wines with their food,” Lee recalls from his days of working in Napa Valley. “But now, it’s not really a consideration. I don’t cook with wine in mind. I try to make a dish as tasty and satisfying as possible and find the beverage that goes well with it later. Personally, I think [it’s] perfect to have ice cold [Korean lager] with sizzling Korean BBQ that’s lightly smokey from grilling over charcoal.”\u003c/p>\n\u003cfigure id=\"attachment_13921463\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger.jpg\" alt=\"Chef Jeongin Hwang prepares meat over a charcoal grill at his restaurant\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Jeongin Hwang prepares meat over a charcoal grill at San Ho Won. \u003ccite>(Eric Wolfinger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chef recalls becoming a fan of Fort Point’s beers during the pandemic, when he — like the rest of us — suddenly had more time to explore different flavor combinations while cooking at home. He enjoyed the balance of Fort Point’s beers and how “food-friendly” they were.\u003c/p>\n\u003cp>“I distinctly remember texting a picture of the \u003ca href=\"https://fortpointbeer.com/products/ksa-kolsch?gclid=CjwKCAiAvK2bBhB8EiwAZUbP1GQ-ks43bO9rv1BcYVTvhkR917Qkt3e9N5iXC-h-IP2ioCs2z2RH6xoC9zgQAvD_BwE\">KSA\u003c/a> [kölsch-style ale] to San Ho Won’s chef, Jeongin Hwang, after trying it with one of our pandemic take-out offerings and saying that it actually goes really well with Korean food,” says Lee.\u003c/p>\n\u003cp>Now, the chef can send out photos of a beer of his own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/somaek-ssam-w-fort-point-san-ho-won-tickets-440644929847\">\u003ci>Tickets for “Ssam Bar and Somaek”\u003c/i>\u003c/a>\u003ci> are available for Monday, Nov. 14 at 5:30 or 7 p.m. $60 per person. The hour-long event will take place at Fort Point Valencia (742 Valencia St., San Francisco). Sixteen-ounce four-packs will be available for \u003c/i>\u003ca href=\"https://fortpointbeer.com/collections\">\u003ci>online delivery\u003c/i>\u003c/a>\u003ci> starting Nov. 9.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s a Bay Area food fact: Our region is home to Corey Lee, the first Korean chef in the world to be awarded with three Michelin stars — and also the first San Francisco chef of any background to reach that milestone when Benu, Lee’s flagship restaurant, first took the honor in 2014.\u003c/p>\n\u003cp>But Lee’s culinary reach doesn’t simply boil down to symbolic gestures, and he does more than serve elevated ingredients on a plate. When he opened San Ho Won — the chef’s first explicitly Korean restaurant — in the Mission District last year, Lee wanted to go beyond the kitchen to accentuate the food’s traditional Korean flavors. That’s the idea behind the restaurant’s latest offering: a fresh Korean lager brewed in collaboration with San Francisco’s Fort Point Beer Company.\u003c/p>\n\u003cfigure id=\"attachment_13921464\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-800x1120.jpg\" alt=\"Michellin-starred chef, Corey Lee, poses casually for a photo\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-1097x1536.jpg 1097w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-1463x2048.jpg 1463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-1920x2688.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/coreyleeportrait_9360_web_srgb_photo_by_aya_brackett-scaled.jpg 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Corey Lee, who teamed up with Fort Point Beer Co. to create a Korean lager for his restaurant, San Ho Won. \u003ccite>(Aya Brackett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the direction of day-to-day chef Jeongin Hwang, San Ho Won is known for its upscale, seasonal take on Korean-style charcoal barbecue, with classics like galbi and osam bulgogi (grilled pork belly with spicy squid). Now, the restaurant can also offer a signature Korean beer that reminds Lee of his birthplace in South Korea.\u003c/p>\n\u003cp>“We wanted a beer that pairs generally well with Korean cuisine and [is] well-suited for Korean drinking customs,” Lee says about his collaboration with Fort Point. “Korean drinking culture is connected to food. We rarely have drinks without food, so we wanted to make a beer that was versatile.”\u003c/p>\n\u003cp>The result of a six-month process of research, tasting and flavor development, the “SHW” is a 4.6% ABV Korean lager — a style of beer that’s highlighted by its light, crisp body. The beverage will be exclusively available at San Ho Won, as well as Fort Point’s San Francisco locations in the Mission, the Presidio and the Ferry Building.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To celebrate their collaborative efforts, Chef Lee and his San Ho Won squad will take over Fort Point Valencia on Nov. 14 for “Ssam Bar and Somaek” — a unique experience centered on Korean bites and communal drinking.\u003c/p>\n\u003cfigure id=\"attachment_13921465\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921465 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/shw_fort_point-3-800x534.jpg\" alt=\"a table of Korean food with a beer being poured into a glass\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/shw_fort_point-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SHW was brewed with Korean food and communal drinking culture in mind. \u003ccite>(Fort Point Beer Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SHW lager was specifically made with somaek — a cocktail made by combining soju and light beer — in mind. At the Fort Point event, the drink will be served with small plates such as assorted ssams (lettuce wraps), including pork belly served with sesame leaf and radish saengchae (a Korean mixed vegetable salad). Other dishes will include hwedupbap (assorted raw fish and vegetables over steamed rice) and crispy cauliflower gangjeong (a deep-fried treat, coated with garlic soy glaze). But the beer will be the central star of the night.\u003c/p>\n\u003cp>“Earlier in my career when I worked in French restaurants, it was important to develop dishes and offer a menu that allowed people to enjoy a variety of wines with their food,” Lee recalls from his days of working in Napa Valley. “But now, it’s not really a consideration. I don’t cook with wine in mind. I try to make a dish as tasty and satisfying as possible and find the beverage that goes well with it later. Personally, I think [it’s] perfect to have ice cold [Korean lager] with sizzling Korean BBQ that’s lightly smokey from grilling over charcoal.”\u003c/p>\n\u003cfigure id=\"attachment_13921463\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger.jpg\" alt=\"Chef Jeongin Hwang prepares meat over a charcoal grill at his restaurant\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/san_ho_won_chef_jeong-in_hwang_grilling_credit_eric_wolfinger-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Jeongin Hwang prepares meat over a charcoal grill at San Ho Won. \u003ccite>(Eric Wolfinger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chef recalls becoming a fan of Fort Point’s beers during the pandemic, when he — like the rest of us — suddenly had more time to explore different flavor combinations while cooking at home. He enjoyed the balance of Fort Point’s beers and how “food-friendly” they were.\u003c/p>\n\u003cp>“I distinctly remember texting a picture of the \u003ca href=\"https://fortpointbeer.com/products/ksa-kolsch?gclid=CjwKCAiAvK2bBhB8EiwAZUbP1GQ-ks43bO9rv1BcYVTvhkR917Qkt3e9N5iXC-h-IP2ioCs2z2RH6xoC9zgQAvD_BwE\">KSA\u003c/a> [kölsch-style ale] to San Ho Won’s chef, Jeongin Hwang, after trying it with one of our pandemic take-out offerings and saying that it actually goes really well with Korean food,” says Lee.\u003c/p>\n\u003cp>Now, the chef can send out photos of a beer of his own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/somaek-ssam-w-fort-point-san-ho-won-tickets-440644929847\">\u003ci>Tickets for “Ssam Bar and Somaek”\u003c/i>\u003c/a>\u003ci> are available for Monday, Nov. 14 at 5:30 or 7 p.m. $60 per person. The hour-long event will take place at Fort Point Valencia (742 Valencia St., San Francisco). Sixteen-ounce four-packs will be available for \u003c/i>\u003ca href=\"https://fortpointbeer.com/collections\">\u003ci>online delivery\u003c/i>\u003c/a>\u003ci> starting Nov. 9.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-bridge-anniversary-1936-opening-fdr-celebrations-sf-oakland",
"title": "The Bay Bridge’s 1936 Opening Was Four Days of Non-Stop Drama",
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"headTitle": "The Bay Bridge’s 1936 Opening Was Four Days of Non-Stop Drama | KQED",
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"content": "\u003cp>Picture it. The Bay Area. November 1936. The first of the region’s two major bridges just got finished. The world is starting to feel smaller. Your brain is struggling to keep up with all of the feats of engineering going on in your midst, and the future feels closer than ever. What do you do?\u003c/p>\n\u003cp>You write a poem, that’s what.\u003c/p>\n\u003cp>I’m not kidding. The opening of the San Francisco-Oakland Bay Bridge inspired \u003cem>a lot\u003c/em> of poetry. A lot of \u003cem>really bad\u003c/em> poetry.\u003c/p>\n\u003cp>Here’s one the \u003cem>Sacramento Bee \u003c/em>saw fit to publish on Nov. 12 — the same day the Bay Bridge first opened to traffic:\u003c/p>\n\u003cblockquote>\u003cp>I like a bridge —\u003cbr>\nIt cries ‘Come on,\u003cbr>\nI’ll take you there from here and here and from there\u003cbr>\nAnd save you time and toll.’\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>I like a bridge —\u003cbr>\nIt breathes romance;\u003cbr>\n‘There’s new adventure on the further side\u003cbr>\nAnd I will help you cross.’\u003c/p>\n\u003cp>I like a bridge —\u003cbr>\nIt makes me think\u003cbr>\nThat when a worry comes, my mind will find\u003cbr>\nSomewhere a friendly bridge.\u003c/p>\u003c/blockquote>\n\u003cp>No, I don’t know either.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A less bad poem by Jack Burroughs also made it into the\u003cem> Oakland Tribune \u003c/em>that week:\u003c/p>\n\u003cblockquote>\u003cp>We’ve watched you grow from a buttress low\u003cbr>\nTo a towering spread of steel\u003cbr>\nYour form arose with hammer blows\u003cbr>\nAnd the turn of the spinner’s wheel.\u003c/p>\n\u003cp>Now you stand complete and our eyes you greet\u003cbr>\nWith the fruit of a thousand thoughts\u003cbr>\nA span flung wide from the Oakland side\u003cbr>\nTo the Port of the Argonauts.\u003c/p>\n\u003cp>We have seen you write of a victor’s might\u003cbr>\nOf a battle fought and won.\u003cbr>\nYou’ve spanned the Bay and you seem to say:\u003cbr>\n‘I’m the link that makes you one!’\u003c/p>\u003c/blockquote>\n\u003cp>Certainly, poetry was the chosen medium in which to feel overwrought that month. Schoolchildren in Berkeley, Oakland, Alameda and Piedmont were all given assignments to write poems about the brand new bridge. Even \u003ca href=\"https://localwiki.org/oakland/Grant_Miller_Mortuary\" target=\"_blank\" rel=\"noopener noreferrer\">Grant D. Miller\u003c/a>, Alameda County’s coroner (\u003cem>the actual coroner!\u003c/em>) felt the need to share some rhyming words of wisdom about “this modern miracle … the Bay Bridge.”\u003c/p>\n\u003cp>In a large newspaper ad, Miller shared:\u003c/p>\n\u003cblockquote>\u003cp>The bridge that links the cities\u003cbr>\nis gleaming in the sun,\u003cbr>\nIts towers capped and saddled,\u003cbr>\nits massive cables spun.\u003c/p>\u003c/blockquote>\n\u003cp>Nice one, Grant.\u003c/p>\n\u003cp>Looking back, you kind of can’t blame everyone for temporarily lapsing into overly dramatic fugue states. Everything about the Bay Bridge was almost unfathomably huge. The construction had cost $77 million (which was actually under budget). It had taken three years, 152,000 tons of steel, 30,000 tons of reinforcing steel, 70,815 miles of cable wire, 1 million cubic yards of concrete, 1.3 million barrels of cement, 200,000 gallons of paint, 30 million feet of boards and 55 million man hours to complete. Hell, PG&E had to lay a 25,000-foot long underwater power cable before the work could even start.\u003c/p>\n\u003cp>The bridge’s completion also felt a little miraculous, given how unfinished it had looked just months before the opening.\u003c/p>\n\u003cfigure id=\"attachment_13921130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-800x469.jpg\" alt=\"The Bay Bridge's towers and cables stand in the Bay, but have no roadways.\" width=\"800\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-768x450.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is what the Bay Bridge looked like at the start of 1936. Literally nowhere to put cars. \u003ccite>(OpenSFHistory / wnp14.4782)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what the San Francisco side (specifically Perry, near Fourth St.) looked like in September 1935:\u003c/p>\n\u003cfigure id=\"attachment_13921124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-800x612.jpg\" alt=\"A very rickety-looking construction of wooden boards to make up a section of bridge.\" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Bridge 14 months before opening, looking like a backyard treehouse with lofty ambitions. \u003ccite>(OpenSFHistory / wnp14.3350)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here’s the Eastern cantilever section that same year:\u003c/p>\n\u003cfigure id=\"attachment_13921132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-800x496.jpg\" alt=\"An unfinished bridge stretches out into open waters.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evel Knievel could’ve done something really cool with this. \u003ccite>(OpenSFHistory / wnp27.3599)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of that, folks were also in a tizzy about the small matter of San Francisco and Oakland suddenly being indelibly connected. At one point, the\u003cem> San Francisco Examiner\u003c/em> pondered whether “this new metropolitan area, knit into a single unit” would be called “San Fran-Oakland” or “Oak-Francisco.” (We owe a debt of gratitude to the 1930s humans who refused to allow these terms to catch on.)\u003c/p>\n\u003cp>Needless to say, when the work on the bridge was finally finished, the entire region celebrated in a variety of consistently over-the-top ways. After the poetry had been penned, then came the parades. The first one, on Nov. 11, took over 30 blocks of downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13921183\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM.png\" alt=\"A hand drawn map of downtown Oakland and Lake Merritt with arrows depicting a parade route.\" width=\"768\" height=\"874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM-160x182.png 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">The Armistice Day parade route, as seen in ‘The Oakland Tribune’ on Nov. 9, 1936. It was the largest parade in Oakland’s history. \u003ccite>(Newspapers.com/ Oakland Tribune)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Armistice Day party was meant to honor the lives of those lost in World War I, while also marveling at the possibilities for the future that were symbolized by the Bay Bridge.\u003c/p>\n\u003cfigure id=\"attachment_13921232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921232\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1172276945-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1536x1093.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-2048x1458.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1920x1367.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Armistice Day parade moving along Broadway in Oakland, Nov. 11, 1936. \u003ccite>(MediaNews Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holding the largest parade in Oakland history apparently didn’t feel quite big enough because, that day, there was also a luncheon, a military pageant, a football game, a ball \u003cem>and\u003c/em> fireworks. All of which, believe it or not, was merely the opening act for the actual bridge opening on Nov. 12. Which was, as you may have guessed by now, completely bonkers.\u003c/p>\n\u003cp>The day started with Franklin D. Roosevelt hitting a little button in the Oval Office, which turned on traffic signals on the bridge. This activation of the lights was a more measured gesture to Northern California than the one FDR had offered at the beginning of Bay Bridge construction. That time, the little button on his desk set off a dynamite explosion on Yerba Buena Island.\u003c/p>\n\u003cp>One can only assume that this is how people showed off before the internet existed.\u003c/p>\n\u003cfigure id=\"attachment_13921252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-515450230-1-800x623.jpg\" alt=\"A distinguished older man sits at his desk about to press down on a device that resembles a morse code machine.\" width=\"800\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-1020x794.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FDR, very casually messing with our traffic lights. \u003ccite>(Getty Images/ Bettmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once those lights were on, cars could begin crossing. Truly, the Bay Bridge started as it continues to this day — with way, \u003cem>way\u003c/em> too much traffic.\u003c/p>\n\u003cfigure id=\"attachment_13921292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1006179310-800x498.jpg\" alt=\"Cars lined up as far as the eye can see, in eight lanes.\" width=\"800\" height=\"498\">\u003cfigcaption class=\"wp-caption-text\">Cars line up at the toll plaza to be some of the first to cross the Bay Bridge. \u003ccite>(Digital First Media Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, there was a bridge dedication on both sides of the Bay, while an Army and Navy air show roared overhead. \u003cem>In\u003c/em> the bay, there was a regatta, as well as races involving fishing boats, a merchant life boat, the Sea Scouts and rowing clubs. There were demonstrations by the Coast Guard and the fire-boat service. San Francisco also held swimming and diving competitions at Aquatic Park, and the day culminated in firework displays at either end of the bridge. So, bedlam basically.\u003c/p>\n\u003cp>[aside postid='arts_13910308']There was so much going on at the same time, one radio journalist decided that the easiest way to see it all was by climbing 400 feet to the top of the Bay Bridge’s tower and reporting from there. He stayed up there all day despite objections from his editor that his script might get blown away. (Journalists, amiright?)\u003c/p>\n\u003cp>Those of you accustomed to forking over $7 each time you cross might be interested to hear what then-Governor Frank Finley Merriam declared at the opening. “This bridge belongs to the generation,” he said. “We built it and we shall pay for it. But in a broader sense it belongs to the generations that are to come. When the youths of today became the citizens of tomorrow, they will use it without cost.”\u003c/p>\n\u003cp>Sure, Frank. Sure.\u003c/p>\n\u003cfigure id=\"attachment_13921143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-800x646.jpg\" alt=\"\" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-800x646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Bridge Dedication Pageant parade marched down Market St. on Nov. 13, 1936, between decorations that resembled the new bridge. \u003ccite>(OpenSFHistory / wnp14.12323)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Things didn’t get any less dramatic on Day Three. A parade dominated downtown San Francisco from the Ferry Building to Civic Center. Per a report that week from the \u003cem>San Francisco Examiner\u003c/em>, the floats —“a type finer than any which have been shown hereabouts in the past” — depicted “the past, present and future of the Metropolitan Bay Area.”\u003c/p>\n\u003cfigure id=\"attachment_13921126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-800x541.jpg\" alt=\"A float carrying a replica of San Francisco's city hall, plus the new Bay Bridge rolls past spectators.\" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nov 13, 1936:\u003cbr>The Bay Bridge Dedication Pageant parade, featuring here a ‘Flying A’ gasoline float. \u003ccite>(OpenSFHistory / wnp14.4476)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade also, weirdly, facilitated the first horse crossing on the Bay Bridge. The horse in question was named Sundown, he was owned by California Highway patrolman Mark Freitas, and the two were traveling to San Francisco to take part in the pageantry.\u003c/p>\n\u003cfigure id=\"attachment_13921251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1006179288-800x586.jpg\" alt=\"A black horse stands in an open top cart being towed by a classic 1930s car.\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown on the Bay Bridge. \u003ccite>(Digital First Media Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sundown, the futuristic floats, marching bands, a 150-foot-long dragon from Chinatown and hordes of dancing girls made their way down Market St., in what the \u003cem>Examiner\u003c/em> described as “a kaleidoscopic procession of gaiety.” They were surrounded on all sides by “miles of garlands and miles of painted canvas, hundreds of immense colored pylons and replicas of bridges, all designed to form a perfect picture of the spirit of the fiesta.”\u003c/p>\n\u003cp>[aside postid='arts_13913489']Fun fact: One of those bridge replicas wound up smashing through the window of a sporting goods shop a few days later. The \u003cem>Examiner\u003c/em> reported that “heavy trolley wires and lamp standards were torn down in the crash. Traffic was disrupted more than an hour,” and had to be diverted to Mission St.\u003c/p>\n\u003cfigure id=\"attachment_13960576\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960576\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/20240627_150310-scaled-e1719613641842.jpg\" alt=\"1930s-style artwork depicting crowds gathered in front of the Bay Bridge with a rainbow curved across the sky.\" width=\"1536\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A souvenir program for the Bay Bridge’s opening celebrations. \u003ccite>(Courtesy of the San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade caused a traffic jam of sorts too — a human one. “They were clustered on the heads of statuary at the Donahue monuments at Bush and Battery,” the \u003cem>Examiner\u003c/em> reported. “They climbed on the precarious silver arch that linked the street decorations at the Palace Hotel, they clung to dizzy cornices of the buildings, and in window embrasures, showering snow storms of paper upon the marching throngs. Perspiring police threw up their hands as time and again the cheering spectators broke through into the line of march.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After a final burst of revelry on the 14th, the party was over. The \u003cem>Oakland Tribune\u003c/em> called the bridge opening “the greatest event in the history of the Bay region.” The \u003cem>Examiner\u003c/em> declared: “San Francisco has seen nothing like it. The Portola Festival, the homecoming of the troops from the World War, the spontaneous Mardi Gras of New Year’s Eve — roll them all in to one and they’d give but feeble whispers compared to yesterday’s mighty cheer.”\u003c/p>\n\n",
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"title": "The Bay Bridge Turns 86: Revisit its 1936 Opening | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture it. The Bay Area. November 1936. The first of the region’s two major bridges just got finished. The world is starting to feel smaller. Your brain is struggling to keep up with all of the feats of engineering going on in your midst, and the future feels closer than ever. What do you do?\u003c/p>\n\u003cp>You write a poem, that’s what.\u003c/p>\n\u003cp>I’m not kidding. The opening of the San Francisco-Oakland Bay Bridge inspired \u003cem>a lot\u003c/em> of poetry. A lot of \u003cem>really bad\u003c/em> poetry.\u003c/p>\n\u003cp>Here’s one the \u003cem>Sacramento Bee \u003c/em>saw fit to publish on Nov. 12 — the same day the Bay Bridge first opened to traffic:\u003c/p>\n\u003cblockquote>\u003cp>I like a bridge —\u003cbr>\nIt cries ‘Come on,\u003cbr>\nI’ll take you there from here and here and from there\u003cbr>\nAnd save you time and toll.’\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>I like a bridge —\u003cbr>\nIt breathes romance;\u003cbr>\n‘There’s new adventure on the further side\u003cbr>\nAnd I will help you cross.’\u003c/p>\n\u003cp>I like a bridge —\u003cbr>\nIt makes me think\u003cbr>\nThat when a worry comes, my mind will find\u003cbr>\nSomewhere a friendly bridge.\u003c/p>\u003c/blockquote>\n\u003cp>No, I don’t know either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A less bad poem by Jack Burroughs also made it into the\u003cem> Oakland Tribune \u003c/em>that week:\u003c/p>\n\u003cblockquote>\u003cp>We’ve watched you grow from a buttress low\u003cbr>\nTo a towering spread of steel\u003cbr>\nYour form arose with hammer blows\u003cbr>\nAnd the turn of the spinner’s wheel.\u003c/p>\n\u003cp>Now you stand complete and our eyes you greet\u003cbr>\nWith the fruit of a thousand thoughts\u003cbr>\nA span flung wide from the Oakland side\u003cbr>\nTo the Port of the Argonauts.\u003c/p>\n\u003cp>We have seen you write of a victor’s might\u003cbr>\nOf a battle fought and won.\u003cbr>\nYou’ve spanned the Bay and you seem to say:\u003cbr>\n‘I’m the link that makes you one!’\u003c/p>\u003c/blockquote>\n\u003cp>Certainly, poetry was the chosen medium in which to feel overwrought that month. Schoolchildren in Berkeley, Oakland, Alameda and Piedmont were all given assignments to write poems about the brand new bridge. Even \u003ca href=\"https://localwiki.org/oakland/Grant_Miller_Mortuary\" target=\"_blank\" rel=\"noopener noreferrer\">Grant D. Miller\u003c/a>, Alameda County’s coroner (\u003cem>the actual coroner!\u003c/em>) felt the need to share some rhyming words of wisdom about “this modern miracle … the Bay Bridge.”\u003c/p>\n\u003cp>In a large newspaper ad, Miller shared:\u003c/p>\n\u003cblockquote>\u003cp>The bridge that links the cities\u003cbr>\nis gleaming in the sun,\u003cbr>\nIts towers capped and saddled,\u003cbr>\nits massive cables spun.\u003c/p>\u003c/blockquote>\n\u003cp>Nice one, Grant.\u003c/p>\n\u003cp>Looking back, you kind of can’t blame everyone for temporarily lapsing into overly dramatic fugue states. Everything about the Bay Bridge was almost unfathomably huge. The construction had cost $77 million (which was actually under budget). It had taken three years, 152,000 tons of steel, 30,000 tons of reinforcing steel, 70,815 miles of cable wire, 1 million cubic yards of concrete, 1.3 million barrels of cement, 200,000 gallons of paint, 30 million feet of boards and 55 million man hours to complete. Hell, PG&E had to lay a 25,000-foot long underwater power cable before the work could even start.\u003c/p>\n\u003cp>The bridge’s completion also felt a little miraculous, given how unfinished it had looked just months before the opening.\u003c/p>\n\u003cfigure id=\"attachment_13921130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-800x469.jpg\" alt=\"The Bay Bridge's towers and cables stand in the Bay, but have no roadways.\" width=\"800\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-768x450.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is what the Bay Bridge looked like at the start of 1936. Literally nowhere to put cars. \u003ccite>(OpenSFHistory / wnp14.4782)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what the San Francisco side (specifically Perry, near Fourth St.) looked like in September 1935:\u003c/p>\n\u003cfigure id=\"attachment_13921124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-800x612.jpg\" alt=\"A very rickety-looking construction of wooden boards to make up a section of bridge.\" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Bridge 14 months before opening, looking like a backyard treehouse with lofty ambitions. \u003ccite>(OpenSFHistory / wnp14.3350)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here’s the Eastern cantilever section that same year:\u003c/p>\n\u003cfigure id=\"attachment_13921132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-800x496.jpg\" alt=\"An unfinished bridge stretches out into open waters.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evel Knievel could’ve done something really cool with this. \u003ccite>(OpenSFHistory / wnp27.3599)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of that, folks were also in a tizzy about the small matter of San Francisco and Oakland suddenly being indelibly connected. At one point, the\u003cem> San Francisco Examiner\u003c/em> pondered whether “this new metropolitan area, knit into a single unit” would be called “San Fran-Oakland” or “Oak-Francisco.” (We owe a debt of gratitude to the 1930s humans who refused to allow these terms to catch on.)\u003c/p>\n\u003cp>Needless to say, when the work on the bridge was finally finished, the entire region celebrated in a variety of consistently over-the-top ways. After the poetry had been penned, then came the parades. The first one, on Nov. 11, took over 30 blocks of downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13921183\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM.png\" alt=\"A hand drawn map of downtown Oakland and Lake Merritt with arrows depicting a parade route.\" width=\"768\" height=\"874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM-160x182.png 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">The Armistice Day parade route, as seen in ‘The Oakland Tribune’ on Nov. 9, 1936. It was the largest parade in Oakland’s history. \u003ccite>(Newspapers.com/ Oakland Tribune)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Armistice Day party was meant to honor the lives of those lost in World War I, while also marveling at the possibilities for the future that were symbolized by the Bay Bridge.\u003c/p>\n\u003cfigure id=\"attachment_13921232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921232\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1172276945-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1536x1093.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-2048x1458.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1920x1367.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Armistice Day parade moving along Broadway in Oakland, Nov. 11, 1936. \u003ccite>(MediaNews Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holding the largest parade in Oakland history apparently didn’t feel quite big enough because, that day, there was also a luncheon, a military pageant, a football game, a ball \u003cem>and\u003c/em> fireworks. All of which, believe it or not, was merely the opening act for the actual bridge opening on Nov. 12. Which was, as you may have guessed by now, completely bonkers.\u003c/p>\n\u003cp>The day started with Franklin D. Roosevelt hitting a little button in the Oval Office, which turned on traffic signals on the bridge. This activation of the lights was a more measured gesture to Northern California than the one FDR had offered at the beginning of Bay Bridge construction. That time, the little button on his desk set off a dynamite explosion on Yerba Buena Island.\u003c/p>\n\u003cp>One can only assume that this is how people showed off before the internet existed.\u003c/p>\n\u003cfigure id=\"attachment_13921252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-515450230-1-800x623.jpg\" alt=\"A distinguished older man sits at his desk about to press down on a device that resembles a morse code machine.\" width=\"800\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-1020x794.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FDR, very casually messing with our traffic lights. \u003ccite>(Getty Images/ Bettmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once those lights were on, cars could begin crossing. Truly, the Bay Bridge started as it continues to this day — with way, \u003cem>way\u003c/em> too much traffic.\u003c/p>\n\u003cfigure id=\"attachment_13921292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1006179310-800x498.jpg\" alt=\"Cars lined up as far as the eye can see, in eight lanes.\" width=\"800\" height=\"498\">\u003cfigcaption class=\"wp-caption-text\">Cars line up at the toll plaza to be some of the first to cross the Bay Bridge. \u003ccite>(Digital First Media Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, there was a bridge dedication on both sides of the Bay, while an Army and Navy air show roared overhead. \u003cem>In\u003c/em> the bay, there was a regatta, as well as races involving fishing boats, a merchant life boat, the Sea Scouts and rowing clubs. There were demonstrations by the Coast Guard and the fire-boat service. San Francisco also held swimming and diving competitions at Aquatic Park, and the day culminated in firework displays at either end of the bridge. So, bedlam basically.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There was so much going on at the same time, one radio journalist decided that the easiest way to see it all was by climbing 400 feet to the top of the Bay Bridge’s tower and reporting from there. He stayed up there all day despite objections from his editor that his script might get blown away. (Journalists, amiright?)\u003c/p>\n\u003cp>Those of you accustomed to forking over $7 each time you cross might be interested to hear what then-Governor Frank Finley Merriam declared at the opening. “This bridge belongs to the generation,” he said. “We built it and we shall pay for it. But in a broader sense it belongs to the generations that are to come. When the youths of today became the citizens of tomorrow, they will use it without cost.”\u003c/p>\n\u003cp>Sure, Frank. Sure.\u003c/p>\n\u003cfigure id=\"attachment_13921143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-800x646.jpg\" alt=\"\" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-800x646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Bridge Dedication Pageant parade marched down Market St. on Nov. 13, 1936, between decorations that resembled the new bridge. \u003ccite>(OpenSFHistory / wnp14.12323)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Things didn’t get any less dramatic on Day Three. A parade dominated downtown San Francisco from the Ferry Building to Civic Center. Per a report that week from the \u003cem>San Francisco Examiner\u003c/em>, the floats —“a type finer than any which have been shown hereabouts in the past” — depicted “the past, present and future of the Metropolitan Bay Area.”\u003c/p>\n\u003cfigure id=\"attachment_13921126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-800x541.jpg\" alt=\"A float carrying a replica of San Francisco's city hall, plus the new Bay Bridge rolls past spectators.\" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nov 13, 1936:\u003cbr>The Bay Bridge Dedication Pageant parade, featuring here a ‘Flying A’ gasoline float. \u003ccite>(OpenSFHistory / wnp14.4476)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade also, weirdly, facilitated the first horse crossing on the Bay Bridge. The horse in question was named Sundown, he was owned by California Highway patrolman Mark Freitas, and the two were traveling to San Francisco to take part in the pageantry.\u003c/p>\n\u003cfigure id=\"attachment_13921251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1006179288-800x586.jpg\" alt=\"A black horse stands in an open top cart being towed by a classic 1930s car.\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown on the Bay Bridge. \u003ccite>(Digital First Media Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sundown, the futuristic floats, marching bands, a 150-foot-long dragon from Chinatown and hordes of dancing girls made their way down Market St., in what the \u003cem>Examiner\u003c/em> described as “a kaleidoscopic procession of gaiety.” They were surrounded on all sides by “miles of garlands and miles of painted canvas, hundreds of immense colored pylons and replicas of bridges, all designed to form a perfect picture of the spirit of the fiesta.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fun fact: One of those bridge replicas wound up smashing through the window of a sporting goods shop a few days later. The \u003cem>Examiner\u003c/em> reported that “heavy trolley wires and lamp standards were torn down in the crash. Traffic was disrupted more than an hour,” and had to be diverted to Mission St.\u003c/p>\n\u003cfigure id=\"attachment_13960576\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960576\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/20240627_150310-scaled-e1719613641842.jpg\" alt=\"1930s-style artwork depicting crowds gathered in front of the Bay Bridge with a rainbow curved across the sky.\" width=\"1536\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A souvenir program for the Bay Bridge’s opening celebrations. \u003ccite>(Courtesy of the San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade caused a traffic jam of sorts too — a human one. “They were clustered on the heads of statuary at the Donahue monuments at Bush and Battery,” the \u003cem>Examiner\u003c/em> reported. “They climbed on the precarious silver arch that linked the street decorations at the Palace Hotel, they clung to dizzy cornices of the buildings, and in window embrasures, showering snow storms of paper upon the marching throngs. Perspiring police threw up their hands as time and again the cheering spectators broke through into the line of march.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a final burst of revelry on the 14th, the party was over. The \u003cem>Oakland Tribune\u003c/em> called the bridge opening “the greatest event in the history of the Bay region.” The \u003cem>Examiner\u003c/em> declared: “San Francisco has seen nothing like it. The Portola Festival, the homecoming of the troops from the World War, the spontaneous Mardi Gras of New Year’s Eve — roll them all in to one and they’d give but feeble whispers compared to yesterday’s mighty cheer.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "haight-ashbury-photography-elaine-mayes-summer-of-love-san-francisco",
"title": "Elaine Mayes’ Portraits Offer a Starker View of the Haight’s Summer of Love",
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"headTitle": "Elaine Mayes’ Portraits Offer a Starker View of the Haight’s Summer of Love | KQED",
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"content": "\u003cp>A pretty young woman, age 18, sits cross-legged on a pillow-strewn nook. Her long blonde hair is parted in the center, her slender arms are neatly arranged in her lap, but her facial expression is forlorn.\u003c/p>\n\u003cp>Another young woman sits cross-legged on the grass in Golden Gate Park. Her curly hair is parted in the middle and her wrists decorated with beads, but her face is downbeat.\u003c/p>\n\u003cp>A 16-year-old boy, shirtless underneath a velvet jacket, leans against a tree, arms folded defensively in front of him, looking cynical and serious.\u003c/p>\n\u003cfigure id=\"attachment_13921000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-2048x1024.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1920x960.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank French (L) and Ruth Murphy (R), two of the young subjects of Elaine Mayes’ new book, ‘Haight Ashbury Portraits 1967-1968’. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.elainemayesphoto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elaine Mayes\u003c/a>’ new book, \u003ca href=\"https://www.damianieditore.com/en-US/product/836\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haight Ashbury Portraits 1967-1968\u003c/em>\u003c/a>, is full of photographs like these. They are of young people caught in an historic moment. Teenagers in the midst of rebelling against the status quo while also being simultaneously crushed by it. There are a few exceptions to the rule, but the vast majority of Mayes’ subjects carry an air of concern that belies their youthful features.\u003c/p>\n\u003cp>Mayes’ images offer a more measured depiction of the Summer of Love than is typically presented in these kinds of retrospectives. In her introduction to the 43 images collected here, the photographer explains that she simply asked her subjects “to pose or sit naturally, to look into the camera and project their image onto the film.” The results speak volumes about the stress placed on young people in the era of the draft.\u003c/p>\n\u003cfigure id=\"attachment_13921005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rebel-and-Cathleen-800x400.jpg\" alt=\"A Black man wearing denim jeans and jacket standing in a wooded area; a teenage girl sitting on a leather couch in a simple white robe.\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rebel (L) and Cathleen (R), two young people living in the Haight in 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayes’ Haight Ashbury photography isn’t concerned with directly documenting the hedonism of the period. There is no carefree dancing in the park here, no nudity and — despite \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" target=\"_blank\" rel=\"noopener noreferrer\">Mayes also being known for her Monterey Pop photos\u003c/a> — no live music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, Mayes catches the individuals at the center of a whirlwind in quiet, contemplative repose, after the music, the party, the protest has stopped. The aura of the time is captured in the small details — peace signs hanging around necks, messages scrawled on walls about love and war and religion. Subjects sit in rooms decorated with rock ‘n’ roll posters, with guitars, empty cups and dirty ashtrays strewn around them. A few of Mayes’ male subjects remain nameless because they were avoiding the draft at the time she took the picture.\u003c/p>\n\u003cfigure id=\"attachment_13921001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1020x724.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-768x545.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1536x1090.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM.png 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Shari Maynard 19, Red Pappas 18, Stefanie Wyatt 17, Michael 20, and Sean Herrick 18, gather on Haight Street front steps in August 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13310178']Mayes’ work doesn’t offer the broad overview or the depth that Jim Marshall’s collection of photos did in his excellent 2014 book,\u003cem> \u003ca href=\"https://www.jimmarshallphotographyllc.com/haight-love-rock-and-revolution\">The Haight: Love, Rock and Revolution\u003c/a>\u003c/em>. But it does offer a quieter, more introspective view of the kids who were there. Kids that — as \u003cem>Haight Ashbury Portraits 1967-1968\u003c/em> so brilliantly encapsulates — were often lost and simply trying to find their place in a world that was pushing down hard on their young shoulders.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Haight Ashbury Portraits 1967-1968’ by Elaine Mayes is out Nov. 8, 2022, published by Damiani.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Mayes' new book looks beyond peace and love, documenting the stress of young people in the Vietnam War era.",
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"headline": "Elaine Mayes’ Portraits Offer a Starker View of the Haight’s Summer of Love",
"datePublished": "2022-11-01T08:04:58-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A pretty young woman, age 18, sits cross-legged on a pillow-strewn nook. Her long blonde hair is parted in the center, her slender arms are neatly arranged in her lap, but her facial expression is forlorn.\u003c/p>\n\u003cp>Another young woman sits cross-legged on the grass in Golden Gate Park. Her curly hair is parted in the middle and her wrists decorated with beads, but her face is downbeat.\u003c/p>\n\u003cp>A 16-year-old boy, shirtless underneath a velvet jacket, leans against a tree, arms folded defensively in front of him, looking cynical and serious.\u003c/p>\n\u003cfigure id=\"attachment_13921000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-2048x1024.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1920x960.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank French (L) and Ruth Murphy (R), two of the young subjects of Elaine Mayes’ new book, ‘Haight Ashbury Portraits 1967-1968’. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.elainemayesphoto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elaine Mayes\u003c/a>’ new book, \u003ca href=\"https://www.damianieditore.com/en-US/product/836\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haight Ashbury Portraits 1967-1968\u003c/em>\u003c/a>, is full of photographs like these. They are of young people caught in an historic moment. Teenagers in the midst of rebelling against the status quo while also being simultaneously crushed by it. There are a few exceptions to the rule, but the vast majority of Mayes’ subjects carry an air of concern that belies their youthful features.\u003c/p>\n\u003cp>Mayes’ images offer a more measured depiction of the Summer of Love than is typically presented in these kinds of retrospectives. In her introduction to the 43 images collected here, the photographer explains that she simply asked her subjects “to pose or sit naturally, to look into the camera and project their image onto the film.” The results speak volumes about the stress placed on young people in the era of the draft.\u003c/p>\n\u003cfigure id=\"attachment_13921005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rebel-and-Cathleen-800x400.jpg\" alt=\"A Black man wearing denim jeans and jacket standing in a wooded area; a teenage girl sitting on a leather couch in a simple white robe.\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rebel (L) and Cathleen (R), two young people living in the Haight in 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayes’ Haight Ashbury photography isn’t concerned with directly documenting the hedonism of the period. There is no carefree dancing in the park here, no nudity and — despite \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" target=\"_blank\" rel=\"noopener noreferrer\">Mayes also being known for her Monterey Pop photos\u003c/a> — no live music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, Mayes catches the individuals at the center of a whirlwind in quiet, contemplative repose, after the music, the party, the protest has stopped. The aura of the time is captured in the small details — peace signs hanging around necks, messages scrawled on walls about love and war and religion. Subjects sit in rooms decorated with rock ‘n’ roll posters, with guitars, empty cups and dirty ashtrays strewn around them. A few of Mayes’ male subjects remain nameless because they were avoiding the draft at the time she took the picture.\u003c/p>\n\u003cfigure id=\"attachment_13921001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1020x724.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-768x545.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1536x1090.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM.png 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Shari Maynard 19, Red Pappas 18, Stefanie Wyatt 17, Michael 20, and Sean Herrick 18, gather on Haight Street front steps in August 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mayes’ work doesn’t offer the broad overview or the depth that Jim Marshall’s collection of photos did in his excellent 2014 book,\u003cem> \u003ca href=\"https://www.jimmarshallphotographyllc.com/haight-love-rock-and-revolution\">The Haight: Love, Rock and Revolution\u003c/a>\u003c/em>. But it does offer a quieter, more introspective view of the kids who were there. Kids that — as \u003cem>Haight Ashbury Portraits 1967-1968\u003c/em> so brilliantly encapsulates — were often lost and simply trying to find their place in a world that was pushing down hard on their young shoulders.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Haight Ashbury Portraits 1967-1968’ by Elaine Mayes is out Nov. 8, 2022, published by Damiani.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Food Altar for My Mom, Who Taught Me to Love to Eat",
"headTitle": "A Food Altar for My Mom, Who Taught Me to Love to Eat | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[dropcap]W[/dropcap]hen I lost my mom in May of 2020, two months after lockdown, I couldn’t mourn in a normal way. Instead of hugs and in-person condolences, I received pings on my Venmo account from all my cousins telling me to order takeout instead of cooking. Not that I could have. I could barely stand up in the shower. The grief was so heavy amidst the isolation of shelter in place that all I can remember was the silence — and the occasional knock on the door for a flower shop delivery or a Caviar order.\u003c/p>\n\u003cp>I found a Filipino restaurant in Oakland called \u003ca href=\"https://tipunan.com/\">Tipunan\u003c/a> that delivered beef rib sinigang soup with the perfect amount of tamarind sourness and crispy pork belly karé karé, with its golden, peanut butter-based sauce and side of fermented shrimp paste to cut through the fat. Of all the condolences sent, this one felt the most appropriate. After all, I had learned to taste food through my mother’s hands when she \u003ci>subu\u003c/i>’d me as a baby and, later, through the cultural sensibilities I inherited from being born in the Philippines — acquiring a palate for things like ampalaya (bitter melon) and burong mustasa (fermented mustard greens).\u003c/p>\n\u003cp>I grew up quite literally in the middle of the Bay on Treasure Island Naval Base, but my mother was the true bridge between two cities, two hemispheres and two cultures.\u003c/p>\n\u003cp>She was also the one who taught me to be a foodie. I remember how my mom would fix plates of Filipino-style spaghetti for the construction workers working on our building, and how she’d take me to Pier 39 to eat Dungeness crab and clam chowder with oyster crackers, a cacophony of sea lions nearby. I remember perusing Japantown with her after her massage appointments, sipping toasted rice tea and eating green tea ice cream at Kintetsu Mall. I remember how she brought home sugarcane from the Alemany farmers market. My sisters and I would crunch down and suck up the sweet juice before spitting out the stalk like some kid version of chewing tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13921119\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921119\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rocky-treasure-island.jpg\" alt=\"A young girl with windswept hair dressed in all red; the pier and waterfront at Treasure Island is in the background.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author as a child at the waterfront on Treasure Island, where she grew up. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of ten siblings, my mom always woke up at dawn to cook breakfast, most likely silog-style: vinegar-marinated milkfish or salted dried fish with rice and a side of fresh tomato, mango and onion. She’d go back to sleep while everyone else ate. She taught me my native language, Kapampangan, and told me that our people were the best chefs in the Philippines. She even used to brag about raising me a vegetarian — after all, we had access to canned veg-meat in our hometown years before it hit the American mainstream. (These days it would be more accurate to call us flexitarians. We Filipinos \u003ca href=\"https://www.kqed.org/arts/13914750/inay-dalisay-world-famous-lechon-vegan-filipino-play-bindlestiff\">have a hard time\u003c/a> parting with \u003ca href=\"https://www.kqed.org/arts/13915581/lechon-filipino-american-party-oriental-food-market-concord\">meat\u003c/a> entirely.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout my adolescence, my mom expressed the truest love language of an Asian mother, bringing me cut cantaloupes, persimmons and mangoes to my room while I was doing my homework. “Tin … anak … mangan na ka (you eat now),” she’d say to me. It’s no wonder that Filipinos greet each other not with pleasantries, but with inquiries of whether you’ve eaten yet.\u003c/p>\n\u003cp>For me, being a foodie always meant that I enjoyed everyone else’s cooking — my mom’s, my sister’s, my grandma’s, my Tita Lita’s — but never dared to learn or replicate. Why would I when I could just enjoy the fruits of their labor? But now that my daughter is the same age I was when my family immigrated to San Francisco, I’ve learned to cook a few signature dishes: garlic noodles, made with copious amounts of butter, and my Lolo Pepé’s catfish adobo recipe, which my mother passed down to me — with no measurements, of course. It would depend on what was in Mom’s fridge that day. It always required a tomato soft enough to thicken the sauce undetected. But sometimes it would have pepperoncini or jalapeños in it. Sometimes lemongrass. My mother cooked it whenever my partner was in town because he was pescatarian and it was his favorite dish she made.\u003c/p>\n\u003cfigure id=\"attachment_13921125\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/food-altar_full-scaled.jpg\" alt=\"A home altar for honoring the ancestors, covered with framed photos, decorative skulls and food offerings.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The author’s home altar for honoring her ancestors. At the very top are framed photos of her mother and her father-in-law Danny. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mom, my Lola Luz and my Tita Lita — who passed away in January — are all gone now. It’s up to my sisters, cousins and I to keep those food memories going, if only to thread our past with our future. These days, I try to continue the Kapampangan traditions with my kids while also incorporating our Americanized palates. I inherited a white-cheddar-and-thyme corn pudding recipe from Tita Lita, who cooked like a Filipina Ina Garten on steroids. Every year, she would roast a separate display turkey to serve alongside the cut pieces of the one she’d already carved — mainly for aesthetics but also to feed our huge family.\u003c/p>\n\u003cp>At her memorial this past January, I made the corn pudding for the family and silently noted the differences in taste due to my use of extra large eggs and the fact that I hadn’t let the batter come to room temperature before baking. Even in death, mine couldn’t compare. I plan on perfecting it this year, and every year after, for Turkey Day.\u003c/p>\n\u003cfigure id=\"attachment_13921122\" class=\"wp-caption alignnone\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Tita-Lita.jpg\" alt=\"An older woman in a red apron sets up a huge spread of food for an outdoor family gathering.\" width=\"1125\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-768x576.jpg 768w\" sizes=\"(max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Tita Lita was like a Filipino Ina Garten, known for cooking up an enormous spread of food for family gatherings. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few months after my mom passed, during that brief moment in the pandemic when things opened up and closed just as fast, I was able to secure a tattoo appointment. In honor of my departed mom, I chose a young picture of her, along with a young San Francisco skyline — no Salesforce Tower in sight — with the Bay Bridge as a backdrop. At the bottom, in curlicued script, are the words “Frisco Queen.” The image represents a time when my mom came here to build a new life as a nurse, a choice to immigrate to this very place and make it our new home. Through every hardship, she was always there for her kids: She was the one who pulled me out of school on my birthday and took me shopping at the downtown FAO Schwartz (RIP), or at the dress shops on Mission after visits to the dentist. She was the one who handled things the first time I got stung by a bee, on the 14 Mission, slamming her thick nursing book once with a heavy thud.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“It was because of my mom that I am proud to be a first-generation immigrant daughter — that my identity, though split, could pledge no true allegiance to either side.”[/pullquote]\u003c/span>As the artist — another Frisco native, as we call ourselves — buzzed away at my right thigh, I meditated on the physical pain that felt like a conduit to what I was going through emotionally. It was cathartic. It was heartbreaking. But it was an emblem of survival for me, an homage to my mother and to the place she brought me that I now call home.\u003c/p>\n\u003cp>For much of my life, I wished I was “Born and Raised” like my friends who were delivered at St. Luke’s (RIP) or General Hospital in the city. But it was because of my mom that I am proud to be a first-generation immigrant daughter — that my identity, though split, could pledge no true allegiance to either side, but took only the best of both worlds: the Philippines \u003ci>and\u003c/i> Frisco.\u003c/p>\n\u003cfigure id=\"attachment_13921127\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Mama-Tattoo.jpg\" alt='A thigh tattoo shows a young woman standing in front of the San Francisco skyline, with the words \"Frisco Queen\" written underneath in cursive.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A tattoo to honor a true “Frisco Queen.” \u003ccite>(Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I moved out on my own after college in the early aughts, I created an altar in my home to honor my ancestors. It was a way for me to stay spiritually connected while rejecting colonizer-imposed Catholicism. At first, it only contained my pictures of my grandfather and my Aunt Agnes, who had passed away at 33. When we moved the altar to the outside balcony, the sugar skulls were soon invaded by pests, the ceremonial chocolate from Colombia eaten and the altar toppled by roof rats. After that, I moved it back inside. Now, it’s crowded with loved ones who passed within the last five years, the most impactful being my father-in-law, my Tita Lita and, of course, my mother.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13915581,arts_13913828']\u003c/span>I was too broken to make a food altar for my mother on Araw ng mga Patay (All Saints Day), the Filipino version of Día de los Muertos, the year she passed. I was too sad to even feed myself and instead ordered Tipunan again to comfort myself, the takeout cartons taking the place of the traditional catfish adobo she had taught me to make.\u003c/p>\n\u003cp>The last time she visited us in Oakland, my mother soared over the zoo in the gondola, laughing as she pointed out all the animals below she could prepare adobo-style. Toward the end of her life, as her health deteriorated, she began to only speak to me in Kapampangan. It was a gift that I was still able to understand her. Meanwhile, my Tita Lita, who famously never cooked Filipino food during the holidays, began to request it from us as she recovered from her first stroke, and again a decade later while succumbing to her next. And my father-in-law, Danny, used to order sisig for every family party after I requested it just one time, even though half of his biological children are now vegan.\u003c/p>\n\u003cfigure id=\"attachment_13921129\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/altar-sisig-scaled.jpg\" alt=\"Close-up of a section of a home altar, with a plate of Filipino sisig on display as an offering to the dead.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The plate of sisig is an offering to the author’s father-in-law, who insisted on ordering it for family parties even after many of his children became vegan. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The comfort of familiarity is too strong in the end, especially as we are close to death. And as immigrants and children of immigrants, our relationship to food is the strongest relationship we have to culture and lineage, because food is made and prepared with love when it is made at home.\u003c/p>\n\u003cp>This Día de los Muertos, I am returning to that food altar with my recently passed loved ones in mind. Persimmons for Mom and Tita Lita, their favorite winter fruit. A mango for my motherland (and the name of the enchi ball python we bought to celebrate \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\">the release of my book\u003c/a> — and to keep future roof rats away). A plate of sisig for my father-in-law. A joint for my boy Dex, who just passed from cancer. And a plate of garlic noodles for the Frisco that only exists in my memories now, made with love by Yours Truly.\u003c/p>\n\u003cp>As we eat and savor each bite with our ancestors, remembering places and names that no longer exist on this earthly plane, we say thank you for the sustenance. And the memories. This will be our first holiday without many of them, and I can only hope to be half the foodie they were.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/mom-altar-scaled.jpg\" alt=\"A framed photo of an older Filipino woman in a polka dotted blouse.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen I lost my mom in May of 2020, two months after lockdown, I couldn’t mourn in a normal way. Instead of hugs and in-person condolences, I received pings on my Venmo account from all my cousins telling me to order takeout instead of cooking. Not that I could have. I could barely stand up in the shower. The grief was so heavy amidst the isolation of shelter in place that all I can remember was the silence — and the occasional knock on the door for a flower shop delivery or a Caviar order.\u003c/p>\n\u003cp>I found a Filipino restaurant in Oakland called \u003ca href=\"https://tipunan.com/\">Tipunan\u003c/a> that delivered beef rib sinigang soup with the perfect amount of tamarind sourness and crispy pork belly karé karé, with its golden, peanut butter-based sauce and side of fermented shrimp paste to cut through the fat. Of all the condolences sent, this one felt the most appropriate. After all, I had learned to taste food through my mother’s hands when she \u003ci>subu\u003c/i>’d me as a baby and, later, through the cultural sensibilities I inherited from being born in the Philippines — acquiring a palate for things like ampalaya (bitter melon) and burong mustasa (fermented mustard greens).\u003c/p>\n\u003cp>I grew up quite literally in the middle of the Bay on Treasure Island Naval Base, but my mother was the true bridge between two cities, two hemispheres and two cultures.\u003c/p>\n\u003cp>She was also the one who taught me to be a foodie. I remember how my mom would fix plates of Filipino-style spaghetti for the construction workers working on our building, and how she’d take me to Pier 39 to eat Dungeness crab and clam chowder with oyster crackers, a cacophony of sea lions nearby. I remember perusing Japantown with her after her massage appointments, sipping toasted rice tea and eating green tea ice cream at Kintetsu Mall. I remember how she brought home sugarcane from the Alemany farmers market. My sisters and I would crunch down and suck up the sweet juice before spitting out the stalk like some kid version of chewing tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13921119\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921119\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rocky-treasure-island.jpg\" alt=\"A young girl with windswept hair dressed in all red; the pier and waterfront at Treasure Island is in the background.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author as a child at the waterfront on Treasure Island, where she grew up. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of ten siblings, my mom always woke up at dawn to cook breakfast, most likely silog-style: vinegar-marinated milkfish or salted dried fish with rice and a side of fresh tomato, mango and onion. She’d go back to sleep while everyone else ate. She taught me my native language, Kapampangan, and told me that our people were the best chefs in the Philippines. She even used to brag about raising me a vegetarian — after all, we had access to canned veg-meat in our hometown years before it hit the American mainstream. (These days it would be more accurate to call us flexitarians. We Filipinos \u003ca href=\"https://www.kqed.org/arts/13914750/inay-dalisay-world-famous-lechon-vegan-filipino-play-bindlestiff\">have a hard time\u003c/a> parting with \u003ca href=\"https://www.kqed.org/arts/13915581/lechon-filipino-american-party-oriental-food-market-concord\">meat\u003c/a> entirely.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout my adolescence, my mom expressed the truest love language of an Asian mother, bringing me cut cantaloupes, persimmons and mangoes to my room while I was doing my homework. “Tin … anak … mangan na ka (you eat now),” she’d say to me. It’s no wonder that Filipinos greet each other not with pleasantries, but with inquiries of whether you’ve eaten yet.\u003c/p>\n\u003cp>For me, being a foodie always meant that I enjoyed everyone else’s cooking — my mom’s, my sister’s, my grandma’s, my Tita Lita’s — but never dared to learn or replicate. Why would I when I could just enjoy the fruits of their labor? But now that my daughter is the same age I was when my family immigrated to San Francisco, I’ve learned to cook a few signature dishes: garlic noodles, made with copious amounts of butter, and my Lolo Pepé’s catfish adobo recipe, which my mother passed down to me — with no measurements, of course. It would depend on what was in Mom’s fridge that day. It always required a tomato soft enough to thicken the sauce undetected. But sometimes it would have pepperoncini or jalapeños in it. Sometimes lemongrass. My mother cooked it whenever my partner was in town because he was pescatarian and it was his favorite dish she made.\u003c/p>\n\u003cfigure id=\"attachment_13921125\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/food-altar_full-scaled.jpg\" alt=\"A home altar for honoring the ancestors, covered with framed photos, decorative skulls and food offerings.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The author’s home altar for honoring her ancestors. At the very top are framed photos of her mother and her father-in-law Danny. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mom, my Lola Luz and my Tita Lita — who passed away in January — are all gone now. It’s up to my sisters, cousins and I to keep those food memories going, if only to thread our past with our future. These days, I try to continue the Kapampangan traditions with my kids while also incorporating our Americanized palates. I inherited a white-cheddar-and-thyme corn pudding recipe from Tita Lita, who cooked like a Filipina Ina Garten on steroids. Every year, she would roast a separate display turkey to serve alongside the cut pieces of the one she’d already carved — mainly for aesthetics but also to feed our huge family.\u003c/p>\n\u003cp>At her memorial this past January, I made the corn pudding for the family and silently noted the differences in taste due to my use of extra large eggs and the fact that I hadn’t let the batter come to room temperature before baking. Even in death, mine couldn’t compare. I plan on perfecting it this year, and every year after, for Turkey Day.\u003c/p>\n\u003cfigure id=\"attachment_13921122\" class=\"wp-caption alignnone\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Tita-Lita.jpg\" alt=\"An older woman in a red apron sets up a huge spread of food for an outdoor family gathering.\" width=\"1125\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-768x576.jpg 768w\" sizes=\"(max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Tita Lita was like a Filipino Ina Garten, known for cooking up an enormous spread of food for family gatherings. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few months after my mom passed, during that brief moment in the pandemic when things opened up and closed just as fast, I was able to secure a tattoo appointment. In honor of my departed mom, I chose a young picture of her, along with a young San Francisco skyline — no Salesforce Tower in sight — with the Bay Bridge as a backdrop. At the bottom, in curlicued script, are the words “Frisco Queen.” The image represents a time when my mom came here to build a new life as a nurse, a choice to immigrate to this very place and make it our new home. Through every hardship, she was always there for her kids: She was the one who pulled me out of school on my birthday and took me shopping at the downtown FAO Schwartz (RIP), or at the dress shops on Mission after visits to the dentist. She was the one who handled things the first time I got stung by a bee, on the 14 Mission, slamming her thick nursing book once with a heavy thud.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“It was because of my mom that I am proud to be a first-generation immigrant daughter — that my identity, though split, could pledge no true allegiance to either side.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>As the artist — another Frisco native, as we call ourselves — buzzed away at my right thigh, I meditated on the physical pain that felt like a conduit to what I was going through emotionally. It was cathartic. It was heartbreaking. But it was an emblem of survival for me, an homage to my mother and to the place she brought me that I now call home.\u003c/p>\n\u003cp>For much of my life, I wished I was “Born and Raised” like my friends who were delivered at St. Luke’s (RIP) or General Hospital in the city. But it was because of my mom that I am proud to be a first-generation immigrant daughter — that my identity, though split, could pledge no true allegiance to either side, but took only the best of both worlds: the Philippines \u003ci>and\u003c/i> Frisco.\u003c/p>\n\u003cfigure id=\"attachment_13921127\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Mama-Tattoo.jpg\" alt='A thigh tattoo shows a young woman standing in front of the San Francisco skyline, with the words \"Frisco Queen\" written underneath in cursive.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A tattoo to honor a true “Frisco Queen.” \u003ccite>(Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I moved out on my own after college in the early aughts, I created an altar in my home to honor my ancestors. It was a way for me to stay spiritually connected while rejecting colonizer-imposed Catholicism. At first, it only contained my pictures of my grandfather and my Aunt Agnes, who had passed away at 33. When we moved the altar to the outside balcony, the sugar skulls were soon invaded by pests, the ceremonial chocolate from Colombia eaten and the altar toppled by roof rats. After that, I moved it back inside. Now, it’s crowded with loved ones who passed within the last five years, the most impactful being my father-in-law, my Tita Lita and, of course, my mother.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>I was too broken to make a food altar for my mother on Araw ng mga Patay (All Saints Day), the Filipino version of Día de los Muertos, the year she passed. I was too sad to even feed myself and instead ordered Tipunan again to comfort myself, the takeout cartons taking the place of the traditional catfish adobo she had taught me to make.\u003c/p>\n\u003cp>The last time she visited us in Oakland, my mother soared over the zoo in the gondola, laughing as she pointed out all the animals below she could prepare adobo-style. Toward the end of her life, as her health deteriorated, she began to only speak to me in Kapampangan. It was a gift that I was still able to understand her. Meanwhile, my Tita Lita, who famously never cooked Filipino food during the holidays, began to request it from us as she recovered from her first stroke, and again a decade later while succumbing to her next. And my father-in-law, Danny, used to order sisig for every family party after I requested it just one time, even though half of his biological children are now vegan.\u003c/p>\n\u003cfigure id=\"attachment_13921129\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/altar-sisig-scaled.jpg\" alt=\"Close-up of a section of a home altar, with a plate of Filipino sisig on display as an offering to the dead.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The plate of sisig is an offering to the author’s father-in-law, who insisted on ordering it for family parties even after many of his children became vegan. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The comfort of familiarity is too strong in the end, especially as we are close to death. And as immigrants and children of immigrants, our relationship to food is the strongest relationship we have to culture and lineage, because food is made and prepared with love when it is made at home.\u003c/p>\n\u003cp>This Día de los Muertos, I am returning to that food altar with my recently passed loved ones in mind. Persimmons for Mom and Tita Lita, their favorite winter fruit. A mango for my motherland (and the name of the enchi ball python we bought to celebrate \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\">the release of my book\u003c/a> — and to keep future roof rats away). A plate of sisig for my father-in-law. A joint for my boy Dex, who just passed from cancer. And a plate of garlic noodles for the Frisco that only exists in my memories now, made with love by Yours Truly.\u003c/p>\n\u003cp>As we eat and savor each bite with our ancestors, remembering places and names that no longer exist on this earthly plane, we say thank you for the sustenance. And the memories. This will be our first holiday without many of them, and I can only hope to be half the foodie they were.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/mom-altar-scaled.jpg\" alt=\"A framed photo of an older Filipino woman in a polka dotted blouse.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube channel\u003c/a> to never miss an episode of If Cities Could Dance. And \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g/community?lb=UgkxTT1ph5x5nlxlXNk5VpCX_Wzof4sdIHV8\" target=\"_blank\" rel=\"noopener noreferrer\">tell us what you like most about our series\u003c/a> in our community poll!\u003c/em>\u003c/p>\n\u003cp>This Latinx Heritage Month, we’re looking back on bold artists from across the country who expand our ideas of identity, community and dance.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13916333/if-cities-could-dance-austin-salsa\" target=\"_blank\" rel=\"noopener noreferrer\">Angie and Audrey\u003c/a>\u003c/h2>\n\u003cp>Angie Egea and Audrey Guerrero, a non-binary couple who came together through their love of Latin dancing, are making the Austin, Texas, salsa scene more inclusive. Angie and Audrey challenge the traditional binary in salsa—where the man leads and the woman follows. Instead, they take turns leading and following, often switching roles within a dance. And don’t miss their \u003ca href=\"https://www.youtube.com/watch?v=_uNxJ4-WPAY\" target=\"_blank\" rel=\"noopener noreferrer\">dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Queer Salsa: How One Nonbinary Couple Leads and Follows | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_tFMmU9SFGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">La Mezcla\u003c/a>\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, blends tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. For their work \u003ca href=\"https://vanessasanchez.net/pachuquismo-2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pachuquísmo\u003c/em>\u003c/a>, dancers embody zoot-suited Chicanas of 1940s Los Angeles and take their movement to the streets of the Mission District. Check out Vanessa’s \u003ca href=\"https://youtu.be/jtiD3lC1X88\" target=\"_blank\" rel=\"noopener noreferrer\">basic tap dance tutorial\u003c/a> too.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13912474/latinx-dancers-honor-migrant-stories-from-the-borderlands\">Safos Dance Theatre\u003c/a>\u003c/h2>\n\u003cp>Pursuing a professional dance career in Tucson, Arizona, Yvonne Montoya didn’t see brown bodies like hers on stage. So she founded \u003ca href=\"https://www.safosdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> to nurture a local community of dance artists who are Latinx, immigrants, queer and other dancers of color. In one work inspired by Montaya’s own family’s history, Safos Dance Theatre tells the story of braceros, migrant farm workers from Mexico who provided seasonal labor to the U.S.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Latina Choreographer Uplifts Stories from U.S.-Mexico Borderlands | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Ub_CXFmF4sA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a>\u003c/h2>\n\u003cp>Sisters Mar and María Cruz, born and raised in Puerto Rico, represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Mar also teaches the foundation of Bomba, and breaks down the steps in \u003ca href=\"https://youtu.be/4nFyLdsyIgk\" target=\"_blank\" rel=\"noopener noreferrer\">this dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13855686/if-cities-could-dance-fresno\">Los diablos de Juxtlahuaca Oaxaca\u003c/a>\u003c/h2>\n\u003cp>In Fresno, California, farm workers and community members—many of whom are Mexican immigrants—carry on a tradition from the Oaxacan community of Casa San Miguel. Dancers don traditional masks and costumes, all made in Oaxaca; spin to thumping drums and horn blasts; and move in a whip-wielding, barely controlled frenzy called the Danza de los Diablos.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mexican Folk Dance in Fresno | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ndhCv9PLfH8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube channel\u003c/a> to never miss an episode of If Cities Could Dance. And \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g/community?lb=UgkxTT1ph5x5nlxlXNk5VpCX_Wzof4sdIHV8\" target=\"_blank\" rel=\"noopener noreferrer\">tell us what you like most about our series\u003c/a> in our community poll!\u003c/em>\u003c/p>\n\u003cp>This Latinx Heritage Month, we’re looking back on bold artists from across the country who expand our ideas of identity, community and dance.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13916333/if-cities-could-dance-austin-salsa\" target=\"_blank\" rel=\"noopener noreferrer\">Angie and Audrey\u003c/a>\u003c/h2>\n\u003cp>Angie Egea and Audrey Guerrero, a non-binary couple who came together through their love of Latin dancing, are making the Austin, Texas, salsa scene more inclusive. Angie and Audrey challenge the traditional binary in salsa—where the man leads and the woman follows. Instead, they take turns leading and following, often switching roles within a dance. And don’t miss their \u003ca href=\"https://www.youtube.com/watch?v=_uNxJ4-WPAY\" target=\"_blank\" rel=\"noopener noreferrer\">dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Queer Salsa: How One Nonbinary Couple Leads and Follows | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_tFMmU9SFGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">La Mezcla\u003c/a>\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, blends tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. 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Check out Vanessa’s \u003ca href=\"https://youtu.be/jtiD3lC1X88\" target=\"_blank\" rel=\"noopener noreferrer\">basic tap dance tutorial\u003c/a> too.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13912474/latinx-dancers-honor-migrant-stories-from-the-borderlands\">Safos Dance Theatre\u003c/a>\u003c/h2>\n\u003cp>Pursuing a professional dance career in Tucson, Arizona, Yvonne Montoya didn’t see brown bodies like hers on stage. So she founded \u003ca href=\"https://www.safosdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> to nurture a local community of dance artists who are Latinx, immigrants, queer and other dancers of color. In one work inspired by Montaya’s own family’s history, Safos Dance Theatre tells the story of braceros, migrant farm workers from Mexico who provided seasonal labor to the U.S.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Latina Choreographer Uplifts Stories from U.S.-Mexico Borderlands | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Ub_CXFmF4sA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a>\u003c/h2>\n\u003cp>Sisters Mar and María Cruz, born and raised in Puerto Rico, represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Mar also teaches the foundation of Bomba, and breaks down the steps in \u003ca href=\"https://youtu.be/4nFyLdsyIgk\" target=\"_blank\" rel=\"noopener noreferrer\">this dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13855686/if-cities-could-dance-fresno\">Los diablos de Juxtlahuaca Oaxaca\u003c/a>\u003c/h2>\n\u003cp>In Fresno, California, farm workers and community members—many of whom are Mexican immigrants—carry on a tradition from the Oaxacan community of Casa San Miguel. Dancers don traditional masks and costumes, all made in Oaxaca; spin to thumping drums and horn blasts; and move in a whip-wielding, barely controlled frenzy called the Danza de los Diablos.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mexican Folk Dance in Fresno | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ndhCv9PLfH8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003cstrong>“Permanent Behavior: Getting Tatted in the Bay,” is our\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\"> four-part series\u003c/a>, about local tattoo artists. In these stories, we dive into the permanence of ink as it resides on impermanent beings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People really want something that brings meaning into their life,” says Sabreena Haque, a\u003c/span> well-known \u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/ritualbydesign/\" target=\"_blank\" rel=\"noopener noreferrer\">henna artist \u003c/a>and burgeoning \u003ca href=\"https://www.instagram.com/ritualbydesigntattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">tattoo artist. \u003c/a>\u003c/p>\n\u003cp>[aside postid='arts_13935864']Henna is an important part of wedding rituals and birthday celebrations. Similar to tattoos, henna plays an important role in times of transition.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sabreena says the practice of receiving henna, which involves patiently sitting still and letting the paste sink into your skin, is an opportunity for people to set intentions. “As the henna fades, that’s when the intentions deepen,” she says. \u003c/span>\u003c/p>\n\u003cp>After the paste has faded away, the memories of the experience and thoughts about how to move forward linger.\u003c/p>\n\u003cfigure id=\"attachment_13919163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/hZBS84OQ-800x533.jpg\" alt=\"Sabreena Haque focuses as she does a tattoo on someone's forearm\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sabreena Haque focuses as she does a tattoo on someone’s forearm \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sabreena’s work is a mixture of calligraphy, defined patterns and artistic touches of nature. Her love of body art goes back to time spent visiting family in Pakistan — specifically wedding hopping with her grandmother, who liked to party.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We would go from wedding home to wedding home,” she says. “And there I started to learn about henna, also known as the mehndi.” \u003c/span>Sabreena practices her craft at weddings and baby showers, and has even expanded to break-up henna and henna for men — “menna”, as she calls it. A few years ago, she jumped into tattoo work.\u003c/p>\n\u003cp>https://www.instagram.com/p/CU8_vOnIC0O/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>Sabreena says there’s a major difference between the act of giving someone henna and giving someone a tattoo, but both involve sitting still, setting intentions and having art added to your body as an act of personal agency.\u003c/p>\n\u003cp>This week, Sabreena tells us about her family and her craft, and shares what philosophy has seeped into her by way of doing body art for the community.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5479762720&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Read the episode transcript \u003ca href=\"https://bit.ly/3DunkQJ\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sabreena Haque. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">Henna is done by people from so many different backgrounds, right? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sabreena:\u003c/em> \u003cspan style=\"font-weight: 400\">Yeah, let’s talk about that. I think it’s really important. Henna is a natural plant dye, it is a leaf that grows on a bush, and it grows best in arid, dry climates. So, desert areas. You’ll see it in the Middle East, in Africa, in Southeast Asia. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">India really popularized [henna] with wedding traditions and introduced it to the world. You know, Indian culture in general is so extra — we just do more! More intricate! More gold! More everything! But if you go to parts of Africa, you’ll see it being done in a very different way. The patterns are different even. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And now, with the internet and everything, it’s practiced all over the world. And that to me is one of the most beautiful things — to see how the art has evolved and how different people from different walks of life have used this natural plant dye to sort of bring meaning to their lives and celebrate themselves.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg\" alt=\"Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tatt\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tattoo. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">So that naturally brings us to the next question is: With that expansion, how do you deal with folks from all around the world doing henna without crossing the line of cultural appropriation?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sabreena:\u003c/em> \u003cspan style=\"font-weight: 400\">I think it’s important with any sort of tradition or cultural practice to educate yourself about where it comes from, you know. Just even understanding that the plant grows in desert climates and so it is a desert art, traditionally. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s important and that’s going to help you do it in a respectful way. \u003c/span>\u003cspan style=\"font-weight: 400\">And that’s really what it boils down to, you know, what is this person’s intention? Are they celebrating the culture or are they trying to take from the culture or look a certain way or be a certain way? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think that’s part of my journey; to educate people on where it comes from, what it means, those questions that always come up.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919161 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/6RDe50Qw-800x533.jpg\" alt=\"Sabreena Haque at Gold Leaf Ink\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sabreena Haque at Gold Leaf Ink \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">I’m all for cultural competency. Yep. Let’s do it. So then the henna, once applied, after so many days it disappears?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sabreena: \u003c/em>\u003cspan style=\"font-weight: 400\">Yeah. There’s a beauty behind that, right? So it sets into a part of your skin, and, you know, you have to let it rest on there. The longer you keep that paste on your skin, the darker it’ll be — the longer it’ll last. Then as your skin renews, which is about (depending on the person) a week to two weeks — 7 to 11 days. That’s when it starts to sort of raise and fade away.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>“Permanent Behavior: Getting Tatted in the Bay,” is our\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\"> four-part series\u003c/a>, about local tattoo artists. In these stories, we dive into the permanence of ink as it resides on impermanent beings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People really want something that brings meaning into their life,” says Sabreena Haque, a\u003c/span> well-known \u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/ritualbydesign/\" target=\"_blank\" rel=\"noopener noreferrer\">henna artist \u003c/a>and burgeoning \u003ca href=\"https://www.instagram.com/ritualbydesigntattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">tattoo artist. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Henna is an important part of wedding rituals and birthday celebrations. Similar to tattoos, henna plays an important role in times of transition.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sabreena says the practice of receiving henna, which involves patiently sitting still and letting the paste sink into your skin, is an opportunity for people to set intentions. “As the henna fades, that’s when the intentions deepen,” she says. \u003c/span>\u003c/p>\n\u003cp>After the paste has faded away, the memories of the experience and thoughts about how to move forward linger.\u003c/p>\n\u003cfigure id=\"attachment_13919163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/hZBS84OQ-800x533.jpg\" alt=\"Sabreena Haque focuses as she does a tattoo on someone's forearm\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/hZBS84OQ-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sabreena Haque focuses as she does a tattoo on someone’s forearm \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sabreena’s work is a mixture of calligraphy, defined patterns and artistic touches of nature. Her love of body art goes back to time spent visiting family in Pakistan — specifically wedding hopping with her grandmother, who liked to party.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We would go from wedding home to wedding home,” she says. “And there I started to learn about henna, also known as the mehndi.” \u003c/span>Sabreena practices her craft at weddings and baby showers, and has even expanded to break-up henna and henna for men — “menna”, as she calls it. A few years ago, she jumped into tattoo work.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sabreena says there’s a major difference between the act of giving someone henna and giving someone a tattoo, but both involve sitting still, setting intentions and having art added to your body as an act of personal agency.\u003c/p>\n\u003cp>This week, Sabreena tells us about her family and her craft, and shares what philosophy has seeped into her by way of doing body art for the community.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5479762720&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Read the episode transcript \u003ca href=\"https://bit.ly/3DunkQJ\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sabreena Haque. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">Henna is done by people from so many different backgrounds, right? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sabreena:\u003c/em> \u003cspan style=\"font-weight: 400\">Yeah, let’s talk about that. I think it’s really important. Henna is a natural plant dye, it is a leaf that grows on a bush, and it grows best in arid, dry climates. So, desert areas. You’ll see it in the Middle East, in Africa, in Southeast Asia. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">India really popularized [henna] with wedding traditions and introduced it to the world. You know, Indian culture in general is so extra — we just do more! More intricate! More gold! More everything! But if you go to parts of Africa, you’ll see it being done in a very different way. The patterns are different even. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And now, with the internet and everything, it’s practiced all over the world. And that to me is one of the most beautiful things — to see how the art has evolved and how different people from different walks of life have used this natural plant dye to sort of bring meaning to their lives and celebrate themselves.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg\" alt=\"Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tatt\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tattoo. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">So that naturally brings us to the next question is: With that expansion, how do you deal with folks from all around the world doing henna without crossing the line of cultural appropriation?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sabreena:\u003c/em> \u003cspan style=\"font-weight: 400\">I think it’s important with any sort of tradition or cultural practice to educate yourself about where it comes from, you know. Just even understanding that the plant grows in desert climates and so it is a desert art, traditionally. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s important and that’s going to help you do it in a respectful way. \u003c/span>\u003cspan style=\"font-weight: 400\">And that’s really what it boils down to, you know, what is this person’s intention? Are they celebrating the culture or are they trying to take from the culture or look a certain way or be a certain way? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think that’s part of my journey; to educate people on where it comes from, what it means, those questions that always come up.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919161 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/6RDe50Qw-800x533.jpg\" alt=\"Sabreena Haque at Gold Leaf Ink\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6RDe50Qw-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sabreena Haque at Gold Leaf Ink \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">I’m all for cultural competency. Yep. Let’s do it. So then the henna, once applied, after so many days it disappears?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sabreena: \u003c/em>\u003cspan style=\"font-weight: 400\">Yeah. There’s a beauty behind that, right? So it sets into a part of your skin, and, you know, you have to let it rest on there. The longer you keep that paste on your skin, the darker it’ll be — the longer it’ll last. Then as your skin renews, which is about (depending on the person) a week to two weeks — 7 to 11 days. That’s when it starts to sort of raise and fade away.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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"planet-money": {
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"politicalbreakdown": {
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"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",
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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",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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