window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13912049": {
"type": "attachments",
"id": "arts_13912049",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13912049",
"found": true
},
"parent": 13912001,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes_crop-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes_crop-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes_crop-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes_crop.jpg",
"width": 1258,
"height": 707
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes_crop-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes_crop-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes_crop-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1650298851,
"modified": 1650298887,
"caption": "A box of assorted ube treats from San Francisco's Buko Bakes—one of 23 vendors who will be on hand at this year's Yum Yams festival.",
"description": null,
"title": "yumyams_bukobakes_crop",
"credit": "Buko Bakes",
"status": "inherit",
"altTag": "A box of purple ube baked treats from Buko Bakes",
"isLoading": false,
"fetchFailed": false
},
"arts_13911747": {
"type": "attachments",
"id": "arts_13911747",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13911747",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/075_KQEDArts_SFMOMASoapboxDerby_04102022-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/075_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/075_KQEDArts_SFMOMASoapboxDerby_04102022-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/075_KQEDArts_SFMOMASoapboxDerby_04102022.jpg",
"width": 1920,
"height": 1278
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/075_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/075_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1022
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/075_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/075_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1649699615,
"modified": 1649701190,
"caption": "'Roshambo' crosses the finish line after losing some pieces on the course during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. Created by Rock Paper Scissors Collective. ",
"description": null,
"title": "075_KQEDArts_SFMOMASoapboxDerby_04102022",
"credit": "Beth LaBerge/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13911649": {
"type": "attachments",
"id": "arts_13911649",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13911649",
"found": true
},
"parent": 13911589,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/Tricycle.Splash.Thumbnail-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/Tricycle.Splash.Thumbnail-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/Tricycle.Splash.Thumbnail-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/Tricycle.Splash.Thumbnail.jpg",
"width": 2084,
"height": 1172
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/Tricycle.Splash.Thumbnail-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/Tricycle.Splash.Thumbnail-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/Tricycle.Splash.Thumbnail-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/Tricycle.Splash.Thumbnail-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/Tricycle.Splash.Thumbnail-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/Tricycle.Splash.Thumbnail-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1649396758,
"modified": 1649396790,
"caption": "A competitor in Thee Parkside's annual tricycle races gets doused with a bucket of water, mid-ride.",
"description": null,
"title": "Tricycle.Splash.Thumbnail",
"credit": "Instagram/@theeparkside",
"status": "inherit",
"altTag": "A white adult on a tricycle gets splashed with a bucket of water by a referee.",
"isLoading": false,
"fetchFailed": false
},
"arts_13911546": {
"type": "attachments",
"id": "arts_13911546",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13911546",
"found": true
},
"parent": 13911528,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-160x103.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 103
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-scaled.jpg",
"width": 2560,
"height": 1656
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-2048x1325.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1325
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-1020x660.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 660
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-1536x994.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 994
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-1920x1242.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1242
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-800x517.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 517
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-768x497.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 497
}
},
"publishDate": 1649154502,
"modified": 1649154699,
"caption": "\"My Avocado,\" by Chloe Roth—one of the many pieces of loosely food-themed artwork featured in Mouth2Mouth. ",
"description": null,
"title": "chloe painting 1",
"credit": "Chloe Roth",
"status": "inherit",
"altTag": "Watercolor painting of three fruits in different sizes and shades of green: \"your avocado\" (the smallest), \"my avocado\" and \"a papaya.\"",
"isLoading": false,
"fetchFailed": false
},
"arts_13911244": {
"type": "attachments",
"id": "arts_13911244",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13911244",
"found": true
},
"parent": 13911243,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173315-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173315-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173315-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173315-scaled.jpg",
"width": 2560,
"height": 1920
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173315-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173315-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173315-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173315-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173315-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173315-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1648514461,
"modified": 1648514715,
"caption": "Beniamino Bufano's statue of St. Francis of Assisi, inside Grace Cathedral since 1993.",
"description": null,
"title": "Beniamino Bufano's statue of St. Francis of Assisi, inside Grace Cathedral since 1993.",
"credit": "Rae Alexandra",
"status": "inherit",
"altTag": "A bronze statue of a serene-looking man in monk-like robes, arms outstretched, stands before enormous, long, thin stained glass windows.",
"isLoading": false,
"fetchFailed": false
},
"arts_13911261": {
"type": "attachments",
"id": "arts_13911261",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13911261",
"found": true
},
"parent": 13911226,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/SamoraPinderhughes.CRED_.ChloeVeltman-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/SamoraPinderhughes.CRED_.ChloeVeltman-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/SamoraPinderhughes.CRED_.ChloeVeltman-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/SamoraPinderhughes.CRED_.ChloeVeltman.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/SamoraPinderhughes.CRED_.ChloeVeltman-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/SamoraPinderhughes.CRED_.ChloeVeltman-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/SamoraPinderhughes.CRED_.ChloeVeltman-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/SamoraPinderhughes.CRED_.ChloeVeltman-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1648534923,
"modified": 1648534976,
"caption": "Artist and activist Samora Pinderhughes is the force behind 'The Healing Project', a multidisciplinary art project about survival and healing. ",
"description": null,
"title": "SamoraPinderhughes.CRED.ChloeVeltman",
"credit": "Chloe Veltman/KQED",
"status": "inherit",
"altTag": "Man with dark hair and beard in denim jacket and white t-shirt standing in front of red wall art that says \"The Healing Project\" in a circle",
"isLoading": false,
"fetchFailed": false
},
"arts_13910673": {
"type": "attachments",
"id": "arts_13910673",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13910673",
"found": true
},
"parent": 13910664,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/ashyan_main-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/ashyan_main-160x110.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 110
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/ashyan_main-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/ashyan_main.jpg",
"width": 1139,
"height": 784
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/ashyan_main-1020x702.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 702
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/ashyan_main-800x551.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 551
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/ashyan_main-768x529.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 529
}
},
"publishDate": 1647464676,
"modified": 1647464797,
"caption": "Ashyan's Lu Rou Fan is delivering homemade Taiwanese braised pork rice to customers in San Francisco's western neighborhoods.",
"description": null,
"title": "ashyan_main",
"credit": "Ashyan's Lu Rou Fan",
"status": "inherit",
"altTag": "Two takeout containers of lu rou fan, or Taiwanese braised pork rice, garnished with yellow daikon pickles and hard-boiled eggs.",
"isLoading": false,
"fetchFailed": false
},
"arts_13910245": {
"type": "attachments",
"id": "arts_13910245",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13910245",
"found": true
},
"parent": 13910221,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/274879679_375011581132263_4217090458688623097_n-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/274879679_375011581132263_4217090458688623097_n-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/274879679_375011581132263_4217090458688623097_n.jpg",
"width": 828,
"height": 548
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/274879679_375011581132263_4217090458688623097_n-800x529.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 529
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/274879679_375011581132263_4217090458688623097_n-768x508.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 508
}
},
"publishDate": 1646762422,
"modified": 1646762475,
"caption": "Half of Family Not a Group pose for a photo at a performance in Portland. ",
"description": null,
"title": "Half of Family Not a Group pose for a photo at a performance in Portland.",
"credit": "Via Baghead",
"status": "inherit",
"altTag": "Half of Family Not a Group pose for a photo at a performance in Portland.",
"isLoading": false,
"fetchFailed": false
},
"arts_13909278": {
"type": "attachments",
"id": "arts_13909278",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13909278",
"found": true
},
"parent": 13909273,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/ImaginePicasso_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/ImaginePicasso_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/ImaginePicasso_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/ImaginePicasso_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/ImaginePicasso_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/ImaginePicasso_COVER-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/ImaginePicasso_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/ImaginePicasso_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1644548587,
"modified": 1644548673,
"caption": "A view of 'Imagine Picasso' at San Francisco's Armory.",
"description": null,
"title": "ImaginePicasso_COVER",
"credit": "Courtesy Imagine Picasso",
"status": "inherit",
"altTag": "Projected fragments of colorful paintings on walls and floor",
"isLoading": false,
"fetchFailed": false
},
"arts_13909291": {
"type": "attachments",
"id": "arts_13909291",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13909291",
"found": true
},
"parent": 13909240,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_01-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_01-160x148.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 148
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_01-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_01-scaled.jpeg",
"width": 2560,
"height": 2365
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_01-2048x1892.jpeg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1892
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_01-1020x942.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 942
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_01-1536x1419.jpeg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1419
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_01-1920x1773.jpeg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1773
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_01-800x739.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 739
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_01-768x709.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 709
}
},
"publishDate": 1644601175,
"modified": 1644601651,
"caption": "Mac McGinnes at Amy Trachtenberg's Bernal Heights home in 2020.",
"description": null,
"title": "MAC_01",
"credit": "Courtesy Amy Trachtenberg",
"status": "inherit",
"altTag": "An older man sits at a table with hands clasped",
"isLoading": false,
"fetchFailed": false
},
"arts_13909230": {
"type": "attachments",
"id": "arts_13909230",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13909230",
"found": true
},
"parent": 13909188,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers.jpg",
"width": 1920,
"height": 1200
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-1020x638.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 638
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-1536x960.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 960
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
}
},
"publishDate": 1644534847,
"modified": 1644534998,
"caption": "Victoria Shen, Alexa Burrell and Noah Berrie (L–R) are Audium's first residency artists in the San Francisco institution's 55-year history. ",
"description": null,
"title": "Audium.COMposers",
"credit": "Gabe Meline/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13909164": {
"type": "attachments",
"id": "arts_13909164",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13909164",
"found": true
},
"parent": 13909162,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/BedfordCOVER-1000x576.jpg",
"width": 1000,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/BedfordCOVER-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/BedfordCOVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/BedfordCOVER.jpg",
"width": 1000,
"height": 665
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/BedfordCOVER-800x532.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/BedfordCOVER-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1644437550,
"modified": 1644437606,
"caption": "Christopher Bedford comes to SFMOMA from the Baltimore Museum of Art.",
"description": null,
"title": "BedfordCOVER",
"credit": "Courtesy SFMOMA",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13909240": {
"type": "authors",
"id": "byline_arts_13909240",
"meta": {
"override": true
},
"slug": "byline_arts_13909240",
"name": "Maddie Klett",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"blaberge": {
"type": "authors",
"id": "11667",
"meta": {
"index": "authors_1716337520",
"id": "11667",
"found": true
},
"name": "Beth LaBerge",
"firstName": "Beth",
"lastName": "LaBerge",
"slug": "blaberge",
"email": "blaberge@KQED.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Photographer, News",
"bio": "Beth LaBerge is a visual journalist for \u003ca href=\"https://www.kqed.org/news\">KQED News\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/15e224cd55918d1876693b8280954875?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/bethlaberge/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor",
"contributor",
"author"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Beth LaBerge | KQED",
"description": "Photographer, News",
"ogImgSrc": "https://secure.gravatar.com/avatar/15e224cd55918d1876693b8280954875?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/15e224cd55918d1876693b8280954875?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/blaberge"
},
"ltsai": {
"type": "authors",
"id": "11743",
"meta": {
"index": "authors_1716337520",
"id": "11743",
"found": true
},
"name": "Luke Tsai",
"firstName": "Luke",
"lastName": "Tsai",
"slug": "ltsai",
"email": "ltsai@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Food Editor",
"bio": "Luke Tsai is KQED's food editor and resident stinky tofu connoisseur. Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. When he isn't writing or editing, you'll find him eating most everything he can get his hands on.",
"avatar": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twitter": "theluketsai",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor",
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Luke Tsai | KQED",
"description": "Food Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ltsai"
}
},
"pagesReducer": {
"arts_tag_san-francisco": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"score": 6.7368693
},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"title": "San Francisco",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 39
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=san-francisco",
"seeMore": false,
"paginated": true,
"page": 39
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13912001": {
"type": "posts",
"id": "arts_13912001",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13912001",
"score": null,
"sort": [
1650301200000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1650301200,
"format": "aside",
"title": "For Filipino Americans, There’s No Color More Delicious Than Ube Purple",
"headTitle": "For Filipino Americans, There’s No Color More Delicious Than Ube Purple | KQED",
"content": "\u003cfigure id=\"attachment_13912048\" class=\"wp-caption alignnone\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg\" alt=\"A box of purple ube baked treats from Buko Bakes\" width=\"1258\" height=\"1128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-800x717.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-1020x915.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-160x143.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-768x689.jpeg 768w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">A box of assorted ube treats from San Francisco’s Buko Bakes—one of 23 vendors who will be on hand at this year’s Yum Yams festival. \u003ccite>(Buko Bakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Gemma Ballesteros opened her Filipino bakery \u003ca href=\"https://www.marleystreats.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marley’s Treats\u003c/a> 11 years ago, she says, her ube-flavored cupcakes weren’t especially popular.\u003c/p>\n\u003cp>Sure, ube was a nostalgic taste for Filipino Americans. But influencers hadn’t yet given the purple sweet potatoes the title of world’s \u003ca href=\"https://www.refinery29.com/en-us/2016/09/123743/ube-instagram\">\u003cspan style=\"font-weight: 400\">most Instagrammable food\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And they certainly hadn’t yet become such a sensation here in Northern California that event planners would be inspired to organize not one, not two, but \u003ci>three\u003c/i> separate ube festivals on consecutive weekends. Literally.\u003c/span>\u003c/p>\n\u003cp>“It just became a craze,” says Ballesteros. It’s not for nothing that the \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">\u003cspan style=\"font-weight: 400\">branding for her Hayward bakery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> leans \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">hard\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> into ube’s distinctive bright purple hue, which itself has become a marker of cultural pride and identity for many Bay Area Filipinos.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s against this backdrop that Kapwa Gardens, the SoMa Filipino cultural district’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13895671/somas-kapwa-gardens-offer-a-lush-space-for-community-growth\">\u003cspan style=\"font-weight: 400\">new outdoor event space\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, hosts the venue’s second annual “celebration of all things ube,” \u003c/span>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, on Saturday, April 23. This year, 23 different vendors will be decked out in their finest bright-purple regalia, spread between Kapwa’s main courtyard and an adjacent alleyway (dubbed “Ube Alley”). In addition to the usual array of halo-halos and ube cookies, doughnuts and ice creams, a number of savory options will be on hand: ube on a hot dog, or as part of the most Filipino American of fusion plates—\u003c/span>\u003ca href=\"https://www.instagram.com/p/COhGFwlD3PR/\">\u003cspan style=\"font-weight: 400\">chicken lumpia with ube waffles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. If you have someone in your life who’d kill for a pair of ube-themed earrings, this is your kind of food festival.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(We might as well go ahead and designate April as National Ube Month while we’re at it: Yum Yams comes on the heels of this past weekend’s equally stacked \u003c/span>\u003ca href=\"https://www.instagram.com/p/CcYUr1OJ1Vk/\">\u003cspan style=\"font-weight: 400\">Ube Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Tracy. And, for the truly dedicated ube superfan, it’ll serve as warm-up for next weekend’s (unrelated) \u003c/span>\u003ca href=\"https://www.eventbrite.com/e/district-six-presents-ube-fest-2022-tickets-293528801547\">\u003cspan style=\"font-weight: 400\">Ube Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at San Francisco’s District Six.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13912051\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MarleysTreats.jpeg\" alt=\"Two ube cupcakes, ube pandesals and ube flan cheesecakes, against a white background.\" width=\"1242\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-1020x1014.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-768x764.jpeg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Ube cupcakes, “flandesals” and ube flan cheesecakes—all from Hayward-based Marley’s Treats, where the ube desserts are by far the most popular items. \u003ccite>(Marley's Treats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kapwa Gardens general manager Marissa Macayan acknowledges that there’s a certain trendiness to the current ube craze—that the purple tuber is “really in its time right now.” At the same time, she stresses \u003c/span>\u003ca href=\"https://www.kapwagardens.com/blog/more-than-a-trend-the-history-of-ube?mc_cid=9f93382763&mc_eid=UNIQID\">\u003cspan style=\"font-weight: 400\">ube’s cultural significance for Filipinos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> across generations. “If you grew up eating halo-halo, you’re going to feel some kind of way when you have your first bite of [an ube dessert],” Macayan says. For her, anything ube-flavored always conjures up memories of having shaved ice with her family during the summertime. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13911775,arts_13906834,arts_13901303']Likewise, Ballesteros of Marley’s Treats says one of her foundational food memories is of eating ube halaya—a sweet jam—spread on toast. “It’s what my grandma gave me for breakfast,” she says. Now, Ballesteros says, her ube-flavored treats are by far the most popular items at the Hayward bakery and its affiliated food truck, which combined sell everything from ube flan cheesecake to ube “flandesal” (an ube-filled version of the sweet roll known as pandesal) to spicy ube ice cream—all on offer at Saturday’s Yum Yams event.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And even as popular as ube has gotten in recent years, Ballesteros says she still gets a kick out of the moment when a customer comes into her bakery and, drawn in by the eye-catching purple color, tries an ube-flavored treat for the very first time. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a cool way to learn about other cultures—a way to tell a story,” say Kapwa Garden’s Macayan about the Bay Area’s ube renaissance. “For Filipinos, a lot of how we share our culture is through our cuisine.”\u003c/span>\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>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> takes place at Kapwa Gardens (967 Mission St., San Francisco) on Saturday, April 23, from noon–5 pm. Tickets are $5, which include a $4 voucher that can be used at any vendor. Buying tickets in advance is highly recommended as the event is expected to sell out.\u003c/span>\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 772,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705006967,
"excerpt": "Yum Yams, a celebration of all things ube, splashes down in San Francisco on April 23.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Yum Yams, a celebration of all things ube, splashes down in San Francisco on April 23.",
"title": "For Filipino Americans, There’s No Color More Delicious Than Ube Purple | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "For Filipino Americans, There’s No Color More Delicious Than Ube Purple",
"datePublished": "2022-04-18T10:00:00-07:00",
"dateModified": "2024-01-11T13:02:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ube-festival-filipino-kapwa-gardens-yum-yams-san-francisco-marleys-treats",
"status": "publish",
"sourceUrl": "/food/",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"source": "Food",
"path": "/arts/13912001/ube-festival-filipino-kapwa-gardens-yum-yams-san-francisco-marleys-treats",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13912048\" class=\"wp-caption alignnone\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg\" alt=\"A box of purple ube baked treats from Buko Bakes\" width=\"1258\" height=\"1128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-800x717.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-1020x915.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-160x143.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-768x689.jpeg 768w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">A box of assorted ube treats from San Francisco’s Buko Bakes—one of 23 vendors who will be on hand at this year’s Yum Yams festival. \u003ccite>(Buko Bakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Gemma Ballesteros opened her Filipino bakery \u003ca href=\"https://www.marleystreats.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marley’s Treats\u003c/a> 11 years ago, she says, her ube-flavored cupcakes weren’t especially popular.\u003c/p>\n\u003cp>Sure, ube was a nostalgic taste for Filipino Americans. But influencers hadn’t yet given the purple sweet potatoes the title of world’s \u003ca href=\"https://www.refinery29.com/en-us/2016/09/123743/ube-instagram\">\u003cspan style=\"font-weight: 400\">most Instagrammable food\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And they certainly hadn’t yet become such a sensation here in Northern California that event planners would be inspired to organize not one, not two, but \u003ci>three\u003c/i> separate ube festivals on consecutive weekends. Literally.\u003c/span>\u003c/p>\n\u003cp>“It just became a craze,” says Ballesteros. It’s not for nothing that the \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">\u003cspan style=\"font-weight: 400\">branding for her Hayward bakery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> leans \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">hard\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> into ube’s distinctive bright purple hue, which itself has become a marker of cultural pride and identity for many Bay Area Filipinos.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s against this backdrop that Kapwa Gardens, the SoMa Filipino cultural district’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13895671/somas-kapwa-gardens-offer-a-lush-space-for-community-growth\">\u003cspan style=\"font-weight: 400\">new outdoor event space\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, hosts the venue’s second annual “celebration of all things ube,” \u003c/span>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, on Saturday, April 23. This year, 23 different vendors will be decked out in their finest bright-purple regalia, spread between Kapwa’s main courtyard and an adjacent alleyway (dubbed “Ube Alley”). In addition to the usual array of halo-halos and ube cookies, doughnuts and ice creams, a number of savory options will be on hand: ube on a hot dog, or as part of the most Filipino American of fusion plates—\u003c/span>\u003ca href=\"https://www.instagram.com/p/COhGFwlD3PR/\">\u003cspan style=\"font-weight: 400\">chicken lumpia with ube waffles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. If you have someone in your life who’d kill for a pair of ube-themed earrings, this is your kind of food festival.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(We might as well go ahead and designate April as National Ube Month while we’re at it: Yum Yams comes on the heels of this past weekend’s equally stacked \u003c/span>\u003ca href=\"https://www.instagram.com/p/CcYUr1OJ1Vk/\">\u003cspan style=\"font-weight: 400\">Ube Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Tracy. And, for the truly dedicated ube superfan, it’ll serve as warm-up for next weekend’s (unrelated) \u003c/span>\u003ca href=\"https://www.eventbrite.com/e/district-six-presents-ube-fest-2022-tickets-293528801547\">\u003cspan style=\"font-weight: 400\">Ube Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at San Francisco’s District Six.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13912051\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MarleysTreats.jpeg\" alt=\"Two ube cupcakes, ube pandesals and ube flan cheesecakes, against a white background.\" width=\"1242\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-1020x1014.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-768x764.jpeg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Ube cupcakes, “flandesals” and ube flan cheesecakes—all from Hayward-based Marley’s Treats, where the ube desserts are by far the most popular items. \u003ccite>(Marley's Treats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kapwa Gardens general manager Marissa Macayan acknowledges that there’s a certain trendiness to the current ube craze—that the purple tuber is “really in its time right now.” At the same time, she stresses \u003c/span>\u003ca href=\"https://www.kapwagardens.com/blog/more-than-a-trend-the-history-of-ube?mc_cid=9f93382763&mc_eid=UNIQID\">\u003cspan style=\"font-weight: 400\">ube’s cultural significance for Filipinos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> across generations. “If you grew up eating halo-halo, you’re going to feel some kind of way when you have your first bite of [an ube dessert],” Macayan says. For her, anything ube-flavored always conjures up memories of having shaved ice with her family during the summertime. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13911775,arts_13906834,arts_13901303",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Likewise, Ballesteros of Marley’s Treats says one of her foundational food memories is of eating ube halaya—a sweet jam—spread on toast. “It’s what my grandma gave me for breakfast,” she says. Now, Ballesteros says, her ube-flavored treats are by far the most popular items at the Hayward bakery and its affiliated food truck, which combined sell everything from ube flan cheesecake to ube “flandesal” (an ube-filled version of the sweet roll known as pandesal) to spicy ube ice cream—all on offer at Saturday’s Yum Yams event.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And even as popular as ube has gotten in recent years, Ballesteros says she still gets a kick out of the moment when a customer comes into her bakery and, drawn in by the eye-catching purple color, tries an ube-flavored treat for the very first time. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a cool way to learn about other cultures—a way to tell a story,” say Kapwa Garden’s Macayan about the Bay Area’s ube renaissance. “For Filipinos, a lot of how we share our culture is through our cuisine.”\u003c/span>\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>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> takes place at Kapwa Gardens (967 Mission St., San Francisco) on Saturday, April 23, from noon–5 pm. Tickets are $5, which include a $4 voucher that can be used at any vendor. Buying tickets in advance is highly recommended as the event is expected to sell out.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13912001/ube-festival-filipino-kapwa-gardens-yum-yams-san-francisco-marleys-treats",
"authors": [
"11743"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_12276"
],
"tags": [
"arts_10278",
"arts_2855",
"arts_14183",
"arts_1297",
"arts_1146",
"arts_4903",
"arts_8836",
"arts_585",
"arts_16240"
],
"featImg": "arts_13912049",
"label": "source_arts_13912001"
},
"arts_13911741": {
"type": "posts",
"id": "arts_13911741",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13911741",
"score": null,
"sort": [
1649702428000
]
},
"guestAuthors": [],
"slug": "soapbox-derby-photos-mclaren-park-san-francisco",
"title": "PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco",
"publishDate": 1649702428,
"format": "standard",
"headTitle": "PHOTOS: The Soapbox Derby’s Wild Downhill Action in San Francisco | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The Soapbox Derby made its grand, colorful return to McLaren Park in San Francisco on Sunday with thrills, hills, and spills.\u003c/p>\n\u003cp>Thousands turned out to see 57 art cars, none of them equipped with engines or motors, hurl (and occasionally crawl) precariously downhill. The races took place on John F. Shelly Drive, an under-maintained asphalt obstacle of a street, complete with potholes, cracks, and—presenting a source of sometimes slapstick comedy for the crowd—a speed bump.\u003c/p>\n\u003cp>[aside postID='news_11910363']This was not your ordinary Indy 500-style race. Among the Soapbox Derby categories ranked by the judges: “Slowest,” “Best of the Worst” and “Most Graceful Wipeout.”\u003c/p>\n\u003cp>KGO news anchor Kumasi Aaron and KQED’s own Pendarvis Harshaw, host of \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" rel=\"noopener noreferrer\" target=\"_blank\">Rightnowish\u003c/a>\u003c/em>, served as race announcers, giving color to every rattling mishap over the “cheese grater” portion of the track. Judges included musician \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" rel=\"noopener noreferrer\" target=\"_blank\">La Doña\u003c/a>; Dorcas Moulton, who created the famed “bread car” as \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" rel=\"noopener noreferrer\" target=\"_blank\">part of the original Soapbox Derby\u003c/a>; drag queen and educator \u003ca href=\"https://www.kqed.org/arts/13472763/storytime-and-stilettos-with-persia\" rel=\"noopener noreferrer\" target=\"_blank\">Per Sia\u003c/a>; and USC professor Amanda Pope.\u003c/p>\n\u003cp>KQED’s Beth LaBerge was there to capture the scene. See the Soapbox Derby’s colorful, creative cars, and the action that ensued, in her photos below. \u003c/p>\n\u003cfigure id=\"attachment_13911742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Morris and Noah Pilchen sit in a bathtub before racing at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitney Shaw-Brandborg prepares to race in the pencil shaped car, created by her father Richard Shaw, at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wondering Eye’ crashes in a part of the course called the ‘Cheese Grater’ during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Taylor races behind ‘MUNI Tunes’ while crossing the finish line at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Cassandra Peña-Govea, AKA La Dona, and drag queen and educator Per Sia judge contestants during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Shrimp Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Enos prepares to race his creation, the ‘Fine To Adequate Art Shipping Crate’, in the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Crumple Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hairy Eyeball’, created by John Casey, races during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls Garage’ leaves the startling line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Announcer Pendarvis Harshaw, host of KQED’s Rightnowish, speaks during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cutouts of drag queens fill the window of Muni Tunes at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘SCRAPmobile’ creative reuse center soapbox prepares to race during the SFMOMA Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "See photos from the Soapbox Derby's grand return to McLaren Park, and its colorful, creative cars. ",
"status": "publish",
"parent": 0,
"modified": 1716315121,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 720
},
"headData": {
"title": "PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco | KQED",
"description": "See photos from the Soapbox Derby's grand return to McLaren Park, and its colorful, creative cars. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco",
"datePublished": "2022-04-11T11:40:28-07:00",
"dateModified": "2024-05-21T11:12:01-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"WpOldSlug": "photos-the-soapbox-derbys-wild-downhill-action-in-san-francisco",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13911741/soapbox-derby-photos-mclaren-park-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Soapbox Derby made its grand, colorful return to McLaren Park in San Francisco on Sunday with thrills, hills, and spills.\u003c/p>\n\u003cp>Thousands turned out to see 57 art cars, none of them equipped with engines or motors, hurl (and occasionally crawl) precariously downhill. The races took place on John F. Shelly Drive, an under-maintained asphalt obstacle of a street, complete with potholes, cracks, and—presenting a source of sometimes slapstick comedy for the crowd—a speed bump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11910363",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This was not your ordinary Indy 500-style race. Among the Soapbox Derby categories ranked by the judges: “Slowest,” “Best of the Worst” and “Most Graceful Wipeout.”\u003c/p>\n\u003cp>KGO news anchor Kumasi Aaron and KQED’s own Pendarvis Harshaw, host of \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" rel=\"noopener noreferrer\" target=\"_blank\">Rightnowish\u003c/a>\u003c/em>, served as race announcers, giving color to every rattling mishap over the “cheese grater” portion of the track. Judges included musician \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" rel=\"noopener noreferrer\" target=\"_blank\">La Doña\u003c/a>; Dorcas Moulton, who created the famed “bread car” as \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" rel=\"noopener noreferrer\" target=\"_blank\">part of the original Soapbox Derby\u003c/a>; drag queen and educator \u003ca href=\"https://www.kqed.org/arts/13472763/storytime-and-stilettos-with-persia\" rel=\"noopener noreferrer\" target=\"_blank\">Per Sia\u003c/a>; and USC professor Amanda Pope.\u003c/p>\n\u003cp>KQED’s Beth LaBerge was there to capture the scene. See the Soapbox Derby’s colorful, creative cars, and the action that ensued, in her photos below. \u003c/p>\n\u003cfigure id=\"attachment_13911742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Morris and Noah Pilchen sit in a bathtub before racing at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitney Shaw-Brandborg prepares to race in the pencil shaped car, created by her father Richard Shaw, at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wondering Eye’ crashes in a part of the course called the ‘Cheese Grater’ during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Taylor races behind ‘MUNI Tunes’ while crossing the finish line at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Cassandra Peña-Govea, AKA La Dona, and drag queen and educator Per Sia judge contestants during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Shrimp Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Enos prepares to race his creation, the ‘Fine To Adequate Art Shipping Crate’, in the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Crumple Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hairy Eyeball’, created by John Casey, races during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls Garage’ leaves the startling line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Announcer Pendarvis Harshaw, host of KQED’s Rightnowish, speaks during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cutouts of drag queens fill the window of Muni Tunes at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘SCRAPmobile’ creative reuse center soapbox prepares to race during the SFMOMA Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13911741/soapbox-derby-photos-mclaren-park-san-francisco",
"authors": [
"11667",
"185"
],
"categories": [
"arts_1",
"arts_76",
"arts_235"
],
"tags": [
"arts_10342",
"arts_10278",
"arts_10422",
"arts_2640",
"arts_17162",
"arts_746",
"arts_4814",
"arts_1146",
"arts_1381"
],
"featImg": "arts_13911747",
"label": "arts"
},
"arts_13911589": {
"type": "posts",
"id": "arts_13911589",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13911589",
"score": null,
"sort": [
1649422816000
]
},
"guestAuthors": [],
"slug": "sfmoma-soapbox-derby-san-francisco-wacky-races-pops-mint-parkside-tricycle-mclaren-park",
"title": "5 Wacky San Francisco Races to Rival SFMOMA's Soapbox Derby",
"publishDate": 1649422816,
"format": "aside",
"headTitle": "5 Wacky San Francisco Races to Rival SFMOMA’s Soapbox Derby | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13911650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-800x570.png\" alt=\"A referee in a black and white shirt splashes an adult competitor in a tricycle race with a bucket of water.\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-800x570.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-1020x726.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-768x547.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-1536x1094.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-2048x1458.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-1920x1367.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A competitor in Thee Parkside’s annual tricycle races gets doused with a bucket of water, mid-ride. \u003ccite>(Instagram/@theeparkside)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As you may have noticed, San Francisco is gearing up \u003cem>hard\u003c/em> for this Sunday’s \u003ca href=\"https://www.sfmoma.org/exhibition/2022-soapbox-derby-at-mclaren-park/\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA Soapbox Derby at McLaren Park\u003c/a>. The wacky race—announced live by KQED Arts’ own \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>—was inspired by a similar \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" target=\"_blank\" rel=\"noopener noreferrer\">1975 event in which artists hurled themselves down a hill\u003c/a> in vehicles of their own making. (The materials back then included everything from bread to vibrators.)\u003c/p>\n\u003cp>Let’s not forget, however, that beyond the SFMOMA event, Bay Area residents have a long and rich history of participating in foolish races on wheels—usually for nothing more than the glory of it.\u003c/p>\n\u003cp>Here are five of the best.\u003c/p>\n\u003ch2>The Illegal Soapbox Society’s Bernal Hill Races\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=uYCAF5EnVi0\u003c/p>\n\u003cp>Back before the internet existed, unusual humans who wanted to connect and bond with other unusual humans were forced to regularly leave their homes and endanger themselves physically. San Francisco’s Illegal Soapbox Society formed in 1992 to facilitate this, holding races down Bernal Hill every third Sunday between the months of May and October.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13910308']The competing soapboxes were officially divided into three categories: cars with hard wheels, cars with tires and “customized kiddie carts.” But \u003ca href=\"https://www.sfgate.com/sports/article/It-s-All-Downhill-From-Here-Soapbox-racers-2840221.php\" target=\"_blank\" rel=\"noopener noreferrer\">one 1997 \u003cem>SFGate \u003c/em>article\u003c/a> also reported the participation of “a lowrider Safeway shopping cart that throws flames, smoke and water; a wooden pallet on wheels; a lawn chair; a two-man bobsled called Amphetamine Reptile; and a one-man chopped skateboard that functions as a luge.”\u003c/p>\n\u003cp>Though initially inspired by the 1975 SFMOMA Soapbox Derby, the Bernal offshoot took on a life of its own, with a distinctly ’90s flavor—even appearing in a 1994 episode of \u003cem>The Real World\u003c/em>. “This is mostly the bike messenger crowd,” \u003cem>SFGate\u003c/em> observed, “drinking beer from cans in bags, enticed by the opportunity to see contact between skin and asphalt.” Fittingly, the legacy of the races lives on today at the Mission District bar Zeitgeist, which still has souvenir posters from the races on display.\u003c/p>\n\u003ch2>The Mint’s Memorial Day Tricycle Race\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=mZRNYrAuGeU\u003c/p>\n\u003cp>The year was 1972, the starting point was the Mint on Market Street, and the competition was fierce. It was the first annual Memorial Day Tricycle Race—an event that would ultimately run for over two decades. The colorful and chaotic fundraiser involved scores of two-person teams—sometimes in costume, sometimes in drag, sometimes in almost nothing at all—racing between bars all over the city. One person sat on the tricycle while the other pushed, and wherever the duos landed en route, they got free drinks.\u003c/p>\n\u003cp>The race was thought up by Mint employee Les Balmain and Mint owner Charlotte Coleman, who owned a wealth of legendary gay bars in the city, including Twin Peaks. In its 21 years, the Memorial Day Tricycle Race raised thousands of dollars for both AIDS- and guide dog-related charities. Media coverage of the tricycle race peaked in 1976 when Jimmy Carter’s 26-year-old son Chip took part, and repeatedly asked onlookers to “vote for daddy.” Carter is reported to have continued even after his handlebars fell off.\u003c/p>\n\u003ch2>The Rambler Cup Relay Race\u003c/h2>\n\u003cfigure id=\"attachment_13911625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Rambler-Race-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-1536x921.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-2048x1229.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-1920x1152.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Illustrations that accompanied the San Francisco Examiner’s report about 1894’s Rambler Relay race that traveled from San Francisco to Oakland via San Jose. \u003ccite>(SF Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Apr. 9, 1894, the \u003cem>San Francisco Examiner\u003c/em> provided an exhaustive summary about this then-popular relay bicycle race that ran from San Francisco to Oakland via San Jose. Seven local bicycle clubs took part in the 100-mile course, starting out from Ninth and Market. “There was a strong armed man behind every racer,” the paper reported, “and when [the] whistle blew, those brawny gentlemen shoved and the seven men shot down Market Street like seven skyrockets.”\u003c/p>\n\u003cp>[aside postid='arts_13909983']The race lasted five hours and 22 minutes, causing disruption, excitement and a plethora of injury along the way. The \u003cem>Examiner\u003c/em> described racers colliding with two dogs, a cow and a human bystander, and made it abundantly clear that nobody in this race had any regard for anything else going on around them. “What made Magill so late at the end of the sixth relay was his attempt to ride under the legs of a moving horse,” it noted at one point. “Magill went down, rubbed his skinned knees and rode off with the loss of some minutes and some cuticle.”\u003c/p>\n\u003cp>“All of Oakland” came out to see the Garden City Club cross the finish line first.\u003c/p>\n\u003ch2>The Pop’s/Parkside Independence Day Tricycle Race\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=6gqqz4dJQB4\u003c/p>\n\u003cp>There were a combination of factors that swiftly made Pop’s one of the Mission District’s greatest dives after it first opened in 2003. Strong drinks, hedonistic patrons, an abnormally flattering photo booth and, yes, the annual Fourth of July tricycle races. Just grown humans, most of them drunk, riding children’s tricycles, trying to weave around tiny orange cones on the York Street side of the bar. Looking on—loudly—were the Pop’s patrons who were either too long-limbed, too drunk or too sensible to participate, who instead spilled out of the bar to holler from the sidelines.\u003c/p>\n\u003cp>After Malia Spanyol sold Pop’s in 2014, the tricycle races moved to her other venue, Thee Parkside, and added another component: \u003ca href=\"https://www.instagram.com/p/Bk5wAOKFsUZ/\" target=\"_blank\" rel=\"noopener noreferrer\">ladies’ arm wrestling\u003c/a>.\u003c/p>\n\u003ch2>Bring Your Own Big Wheel Race\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=GFJgs7b_zgU\u003c/p>\n\u003cp>It all started calmly enough. In 2000, a man named John Brumit decided to ride a children’s big wheel toy down the Lombard St. wiggle because: San Francisco. After Brumit drew a small crowd, he decided to perform the hilarious stunt every year. This, of course, grew into a full-blown race in 2007 because—again—San Francisco.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The anarchy that ensued that year was enough to get the calamitous competition moved in 2008, to the \u003cem>real\u003c/em> crookedest street in San Francisco—the Vermont Street wiggle near 20th Street in Potrero Hill. That’s where the race happens annually to this day—including Sunday, Apr. 17 beginning at 2pm. To register and check the rules (no rubber wheels!), visit \u003ca href=\"https://bringyourownbigwheel.com/bring-your-own-big-wheel-is-currently-a-go-for-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">BringYourOwnWheel.com\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "From flame-throwing shopping carts to drunken tricycle races, this city's always offered a deranged race for everyone. ",
"status": "publish",
"parent": 0,
"modified": 1726771222,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 1106
},
"headData": {
"title": "5 Wacky San Francisco Races to Rival SFMOMA's Soapbox Derby | KQED",
"description": "From flame-throwing shopping carts to drunken tricycle races, this city's always offered a deranged race for everyone. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "5 Wacky San Francisco Races to Rival SFMOMA's Soapbox Derby",
"datePublished": "2022-04-08T06:00:16-07:00",
"dateModified": "2024-09-19T11:40:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13911589/sfmoma-soapbox-derby-san-francisco-wacky-races-pops-mint-parkside-tricycle-mclaren-park",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13911650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-800x570.png\" alt=\"A referee in a black and white shirt splashes an adult competitor in a tricycle race with a bucket of water.\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-800x570.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-1020x726.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-768x547.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-1536x1094.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-2048x1458.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-07-at-5.05.13-PM-1-1920x1367.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A competitor in Thee Parkside’s annual tricycle races gets doused with a bucket of water, mid-ride. \u003ccite>(Instagram/@theeparkside)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As you may have noticed, San Francisco is gearing up \u003cem>hard\u003c/em> for this Sunday’s \u003ca href=\"https://www.sfmoma.org/exhibition/2022-soapbox-derby-at-mclaren-park/\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA Soapbox Derby at McLaren Park\u003c/a>. The wacky race—announced live by KQED Arts’ own \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>—was inspired by a similar \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" target=\"_blank\" rel=\"noopener noreferrer\">1975 event in which artists hurled themselves down a hill\u003c/a> in vehicles of their own making. (The materials back then included everything from bread to vibrators.)\u003c/p>\n\u003cp>Let’s not forget, however, that beyond the SFMOMA event, Bay Area residents have a long and rich history of participating in foolish races on wheels—usually for nothing more than the glory of it.\u003c/p>\n\u003cp>Here are five of the best.\u003c/p>\n\u003ch2>The Illegal Soapbox Society’s Bernal Hill Races\u003c/h2>\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/uYCAF5EnVi0'\n title='//www.youtube.com/embed/uYCAF5EnVi0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back before the internet existed, unusual humans who wanted to connect and bond with other unusual humans were forced to regularly leave their homes and endanger themselves physically. San Francisco’s Illegal Soapbox Society formed in 1992 to facilitate this, holding races down Bernal Hill every third Sunday between the months of May and October.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13910308",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The competing soapboxes were officially divided into three categories: cars with hard wheels, cars with tires and “customized kiddie carts.” But \u003ca href=\"https://www.sfgate.com/sports/article/It-s-All-Downhill-From-Here-Soapbox-racers-2840221.php\" target=\"_blank\" rel=\"noopener noreferrer\">one 1997 \u003cem>SFGate \u003c/em>article\u003c/a> also reported the participation of “a lowrider Safeway shopping cart that throws flames, smoke and water; a wooden pallet on wheels; a lawn chair; a two-man bobsled called Amphetamine Reptile; and a one-man chopped skateboard that functions as a luge.”\u003c/p>\n\u003cp>Though initially inspired by the 1975 SFMOMA Soapbox Derby, the Bernal offshoot took on a life of its own, with a distinctly ’90s flavor—even appearing in a 1994 episode of \u003cem>The Real World\u003c/em>. “This is mostly the bike messenger crowd,” \u003cem>SFGate\u003c/em> observed, “drinking beer from cans in bags, enticed by the opportunity to see contact between skin and asphalt.” Fittingly, the legacy of the races lives on today at the Mission District bar Zeitgeist, which still has souvenir posters from the races on display.\u003c/p>\n\u003ch2>The Mint’s Memorial Day Tricycle Race\u003c/h2>\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/mZRNYrAuGeU'\n title='//www.youtube.com/embed/mZRNYrAuGeU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The year was 1972, the starting point was the Mint on Market Street, and the competition was fierce. It was the first annual Memorial Day Tricycle Race—an event that would ultimately run for over two decades. The colorful and chaotic fundraiser involved scores of two-person teams—sometimes in costume, sometimes in drag, sometimes in almost nothing at all—racing between bars all over the city. One person sat on the tricycle while the other pushed, and wherever the duos landed en route, they got free drinks.\u003c/p>\n\u003cp>The race was thought up by Mint employee Les Balmain and Mint owner Charlotte Coleman, who owned a wealth of legendary gay bars in the city, including Twin Peaks. In its 21 years, the Memorial Day Tricycle Race raised thousands of dollars for both AIDS- and guide dog-related charities. Media coverage of the tricycle race peaked in 1976 when Jimmy Carter’s 26-year-old son Chip took part, and repeatedly asked onlookers to “vote for daddy.” Carter is reported to have continued even after his handlebars fell off.\u003c/p>\n\u003ch2>The Rambler Cup Relay Race\u003c/h2>\n\u003cfigure id=\"attachment_13911625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Rambler-Race-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-1536x921.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-2048x1229.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Rambler-Race-1920x1152.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Illustrations that accompanied the San Francisco Examiner’s report about 1894’s Rambler Relay race that traveled from San Francisco to Oakland via San Jose. \u003ccite>(SF Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Apr. 9, 1894, the \u003cem>San Francisco Examiner\u003c/em> provided an exhaustive summary about this then-popular relay bicycle race that ran from San Francisco to Oakland via San Jose. Seven local bicycle clubs took part in the 100-mile course, starting out from Ninth and Market. “There was a strong armed man behind every racer,” the paper reported, “and when [the] whistle blew, those brawny gentlemen shoved and the seven men shot down Market Street like seven skyrockets.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13909983",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The race lasted five hours and 22 minutes, causing disruption, excitement and a plethora of injury along the way. The \u003cem>Examiner\u003c/em> described racers colliding with two dogs, a cow and a human bystander, and made it abundantly clear that nobody in this race had any regard for anything else going on around them. “What made Magill so late at the end of the sixth relay was his attempt to ride under the legs of a moving horse,” it noted at one point. “Magill went down, rubbed his skinned knees and rode off with the loss of some minutes and some cuticle.”\u003c/p>\n\u003cp>“All of Oakland” came out to see the Garden City Club cross the finish line first.\u003c/p>\n\u003ch2>The Pop’s/Parkside Independence Day Tricycle Race\u003c/h2>\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/6gqqz4dJQB4'\n title='//www.youtube.com/embed/6gqqz4dJQB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There were a combination of factors that swiftly made Pop’s one of the Mission District’s greatest dives after it first opened in 2003. Strong drinks, hedonistic patrons, an abnormally flattering photo booth and, yes, the annual Fourth of July tricycle races. Just grown humans, most of them drunk, riding children’s tricycles, trying to weave around tiny orange cones on the York Street side of the bar. Looking on—loudly—were the Pop’s patrons who were either too long-limbed, too drunk or too sensible to participate, who instead spilled out of the bar to holler from the sidelines.\u003c/p>\n\u003cp>After Malia Spanyol sold Pop’s in 2014, the tricycle races moved to her other venue, Thee Parkside, and added another component: \u003ca href=\"https://www.instagram.com/p/Bk5wAOKFsUZ/\" target=\"_blank\" rel=\"noopener noreferrer\">ladies’ arm wrestling\u003c/a>.\u003c/p>\n\u003ch2>Bring Your Own Big Wheel Race\u003c/h2>\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/GFJgs7b_zgU'\n title='//www.youtube.com/embed/GFJgs7b_zgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It all started calmly enough. In 2000, a man named John Brumit decided to ride a children’s big wheel toy down the Lombard St. wiggle because: San Francisco. After Brumit drew a small crowd, he decided to perform the hilarious stunt every year. This, of course, grew into a full-blown race in 2007 because—again—San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The anarchy that ensued that year was enough to get the calamitous competition moved in 2008, to the \u003cem>real\u003c/em> crookedest street in San Francisco—the Vermont Street wiggle near 20th Street in Potrero Hill. That’s where the race happens annually to this day—including Sunday, Apr. 17 beginning at 2pm. To register and check the rules (no rubber wheels!), visit \u003ca href=\"https://bringyourownbigwheel.com/bring-your-own-big-wheel-is-currently-a-go-for-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">BringYourOwnWheel.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13911589/sfmoma-soapbox-derby-san-francisco-wacky-races-pops-mint-parkside-tricycle-mclaren-park",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_7862",
"arts_13238"
],
"tags": [
"arts_10342",
"arts_10278",
"arts_9075",
"arts_1146",
"arts_1381"
],
"featImg": "arts_13911649",
"label": "arts"
},
"arts_13911528": {
"type": "posts",
"id": "arts_13911528",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13911528",
"score": null,
"sort": [
1649167256000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1649167256,
"format": "aside",
"title": "A New Bay Area Zine Wants to Keep Food Writing Weird",
"headTitle": "A New Bay Area Zine Wants to Keep Food Writing Weird | KQED",
"content": "\u003cfigure id=\"attachment_13911535\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/mouth2mouth_cover-scaled.jpg\" alt=\"The cover of the Mouth2Mouth zine, with a photo illustration of two women in wetsuits digging for clams.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">With its arty, off-kilter aesthetic, Mouth2Mouth is the spiritual descendent of the dearly departed food magazine Lucky Peach. \u003ccite>(Meg Fransee/Floss Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The coolest new Bay Area food magazine can’t be found in bookstores or on newsstands. Its masthead only includes a handful of professional writers—or actual “food people” for that matter. Conceived and born in San Francisco during the pandemic, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mouth2Mouth\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> isn’t even \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">really\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> a proper magazine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, the publication comes out of another long and proud DIY tradition here in the Bay: It’s a zine. And it’s now soliciting submissions for its second issue.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The brainchild of San Francisco architect Hallie Chen, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mouth2Mouth\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> has some of the same hip, arty, off-kilter aesthetic of the dearly departed food magazine \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lucky Peach\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—but without the \u003c/span>\u003ca href=\"https://www.eater.com/2020/8/21/21376709/peter-meehan-allegations-la-times-lucky-peach\">\u003cspan style=\"font-weight: 400\">whiff of toxic masculinity\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that contributed to that publication’s eventual undoing. Chen was an obsessive \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lucky Peach \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">reader back in the day, and says she was missing that kind of literary, intensely personal storytelling—the kind of food writing where the food was “almost peripheral.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think of food as a place—it’s this intersection of people and material and memory and space. … It’s more of an art project than a food thing,” Chen says of the zine.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13911536\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911536\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-scaled.jpg\" alt='The zine open to a spread that shows an vintage photo of an Asian couple on one side and the beginning of a photo essay called \"Twinsgiving\" on the other.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The zine’s design aesthetic is a mix of watercolor illustrations, vintage photographs and doodles. \u003ccite>(Meg Fransee/Floss Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Mouth2Mouth’s\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> first issue, published last spring, has a story about a Korean American woman digging for geoduck with her mother in the pre-dawn light of Tomales Bay. It includes a slew of nostalgic, heartfelt recipes—for flour tortillas, bánh bèo, Cheerios served over espresso—that are written in the form of poems, doodles and photo collages. One ostensible recipe, “How to Cook a Tiger,” by the writer Xiaowei Wang, traces the roots of Baoning vinegar to a village in Sichuan, China, and also digs into the history of anti-Asian sentiment in California in the early 20th century. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For her own contribution, “Pizza Is a Place,” Chen drew on her background as an architect to reimagine a slice of pizza as a landscape, from the spicy oil that pools inside each cup-like curl of pepperoni to the valley of dehydrated red sauce that forms at the foot of the crust. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It all looks very stylish—thanks in large part, Chen says, to the design work of Wolfman Books founder Justin Carder. And Chen is especially proud of how few professional writers and chefs contributed to the zine. Instead, she pulled favors from her broader community of Bay Area friends and acquaintances—artists and cooks, but also tech workers and other regular folks. “It’s mostly people who never write, or never take pictures, sharing something,” Chen says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13911540\" class=\"wp-caption alignnone\" style=\"max-width: 992px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/mouth-2-mouth-layout-Fixed-10-1-21_3.jpg\" alt='Two illustrations of a slice of pizza, one showing the \"valley\" of wet and dehydrated sauce under the crust, the other showing the \"money shot\" of the spotted undercarriage.' width=\"992\" height=\"1474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth-2-mouth-layout-Fixed-10-1-21_3.jpg 992w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth-2-mouth-layout-Fixed-10-1-21_3-800x1189.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth-2-mouth-layout-Fixed-10-1-21_3-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth-2-mouth-layout-Fixed-10-1-21_3-768x1141.jpg 768w\" sizes=\"(max-width: 992px) 100vw, 992px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Hallie Chen’s “Pizza Is a Place,” which draws on the author’s day job as an architect. \u003ccite>(Hallie Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The title comes from an offhand comment that Chen’s partner made one time about being glad that the two of them saw “mouth to mouth” about a particular food trend that they despised. (“I thought it was so clever but also deep,” Chen says.) For her, the term also evokes oral traditions, verbal communication, kissing and the act of a mother bird feeding its baby. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chen says she doesn’t consume enough food media to position \u003cem>Mouth2Mouth\u003c/em> as any kind of overt critique. But at its core, the zine isn’t very concerned with the topics covered by more traditional, mainstream food publications—as illustrated by the phrases of interest that Chen lists off in the first issue’s introduction: “cooks not just chefs, food-based experiences, anti-optimization, anti-listicle, general interest.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Beyond that overarching mood board, \u003cem>Mouth2Mouth \u003c/em>doesn’t stick to any overt theme. For the inaugural edition, Chen asked potential contributors to think broadly about family and memory. For the second issue, she hopes to solicit pieces that have something to do with matriarchs—though she acknowledges it’s hard to make specific demands when she doesn’t have a budget to pay contributors. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13911546\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-scaled.jpg\" alt='Watercolor painting of three fruits in different sizes and shades of green: \"your avocado\" (the smallest), \"my avocado\" and \"a papaya.\"' width=\"2560\" height=\"1656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-1536x994.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-2048x1325.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-1920x1242.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">“My Avocado,” by Chloe Roth—one of the many pieces of loosely food-themed artwork featured in Mouth2Mouth. \u003ccite>(Chloe Roth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911539\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/secrets_chinweokona-scaled.jpg\" alt='A photo collage: a mother giving her child a bath in the sink; the text reads, \"I wish I knew your secrets: pecan pie, biscuits, okra stew.\"' width=\"2560\" height=\"1978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-1536x1187.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-2048x1583.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-1920x1484.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">“Art Secrets,” by Chinwe Okona. \u003ccite>(Chinwe Okona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those interested in submitting writing or art to the second issue of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mouth2Mouth \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">should email Chen at hahallie@gmail.com by April 15. Her hope is to produce and print the issue in time to sell it at this year’s \u003c/span>\u003ca href=\"https://sfartbookfair.com/\">\u003cspan style=\"font-weight: 400\">San Francisco Art Book Fair\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, July 15–17, where she hopes to have a table. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Otherwise, \u003ci>Mouth2Mouth\u003c/i> isn’t easy to snag. Copies of the first issue ($15) are \u003ca href=\"https://flosseditions.com/shop/mouth2mouth\">available periodically\u003c/a> via the Oakland home-based indie art book printing house, \u003ca href=\"https://www.kqed.org/arts/13876332/the-hustle-floss-editions-art-book-publishers\">Floss Editions\u003c/a>. For the time being, the zine doesn’t exist in digital form on the internet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13910817,arts_13906189,arts_13900311']Chen says she started \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mouth2Mouth \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">during the pandemic in part because she had a little bit more free time. But the act of making zines has been a part of her life for as long as she can remember, going back to the days when, as a teenager, she’d go to shows at the Long Haul Infoshop and 924 Gilman in Berkeley—both epicenters of Bay Area zine culture. She sees the practice as an indispensable part of the region’s punk heritage. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now Chen hopes to keep her new food zine going for as long as she can—though she doubts it’ll ever be more than a side gig. She doesn’t \u003cem>actually \u003c/em>aspire to run the next \u003cem>Lucky Peach\u003c/em>. And, anyway, it’s the amateur, DIY aspect of the project that appeals to her. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People constantly surprise me—people I think I know well through friendship,” Chen says. “It’s so incredible to learn the depth and breadth of people’s capabilities.”\u003c/span>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1072,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705007005,
"excerpt": "Mouth2Mouth is like a scrappy, San Francisco-centric descendent of the late great Lucky Peach. ",
"headData": {
"twImgId": "",
"twTitle": "A New Bay Area Zine Wants to Keep Food Writing Weird",
"socialTitle": "New SF Zine Mouth2Mouth Wants to Keep Food Writing Weird %%page%% %%sep%% KQED",
"ogTitle": "A New Bay Area Zine Wants to Keep Food Writing Weird",
"ogImgId": "",
"twDescription": "",
"description": "Mouth2Mouth is like a scrappy, San Francisco-centric descendent of the late great Lucky Peach. ",
"title": "New SF Zine Mouth2Mouth Wants to Keep Food Writing Weird | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A New Bay Area Zine Wants to Keep Food Writing Weird",
"datePublished": "2022-04-05T07:00:56-07:00",
"dateModified": "2024-01-11T13:03:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mouth2mouth-food-zine-san-francisco-lucky-peach",
"status": "publish",
"sourceUrl": "/food/",
"excludeFromSiteSearch": "Include",
"sticky": false,
"source": "Food",
"path": "/arts/13911528/mouth2mouth-food-zine-san-francisco-lucky-peach",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13911535\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/mouth2mouth_cover-scaled.jpg\" alt=\"The cover of the Mouth2Mouth zine, with a photo illustration of two women in wetsuits digging for clams.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_cover-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">With its arty, off-kilter aesthetic, Mouth2Mouth is the spiritual descendent of the dearly departed food magazine Lucky Peach. \u003ccite>(Meg Fransee/Floss Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The coolest new Bay Area food magazine can’t be found in bookstores or on newsstands. Its masthead only includes a handful of professional writers—or actual “food people” for that matter. Conceived and born in San Francisco during the pandemic, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mouth2Mouth\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> isn’t even \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">really\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> a proper magazine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, the publication comes out of another long and proud DIY tradition here in the Bay: It’s a zine. And it’s now soliciting submissions for its second issue.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The brainchild of San Francisco architect Hallie Chen, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mouth2Mouth\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> has some of the same hip, arty, off-kilter aesthetic of the dearly departed food magazine \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lucky Peach\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—but without the \u003c/span>\u003ca href=\"https://www.eater.com/2020/8/21/21376709/peter-meehan-allegations-la-times-lucky-peach\">\u003cspan style=\"font-weight: 400\">whiff of toxic masculinity\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that contributed to that publication’s eventual undoing. Chen was an obsessive \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lucky Peach \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">reader back in the day, and says she was missing that kind of literary, intensely personal storytelling—the kind of food writing where the food was “almost peripheral.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think of food as a place—it’s this intersection of people and material and memory and space. … It’s more of an art project than a food thing,” Chen says of the zine.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13911536\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911536\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-scaled.jpg\" alt='The zine open to a spread that shows an vintage photo of an Asian couple on one side and the beginning of a photo essay called \"Twinsgiving\" on the other.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth2mouth_twinsgiving-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The zine’s design aesthetic is a mix of watercolor illustrations, vintage photographs and doodles. \u003ccite>(Meg Fransee/Floss Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Mouth2Mouth’s\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> first issue, published last spring, has a story about a Korean American woman digging for geoduck with her mother in the pre-dawn light of Tomales Bay. It includes a slew of nostalgic, heartfelt recipes—for flour tortillas, bánh bèo, Cheerios served over espresso—that are written in the form of poems, doodles and photo collages. One ostensible recipe, “How to Cook a Tiger,” by the writer Xiaowei Wang, traces the roots of Baoning vinegar to a village in Sichuan, China, and also digs into the history of anti-Asian sentiment in California in the early 20th century. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For her own contribution, “Pizza Is a Place,” Chen drew on her background as an architect to reimagine a slice of pizza as a landscape, from the spicy oil that pools inside each cup-like curl of pepperoni to the valley of dehydrated red sauce that forms at the foot of the crust. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It all looks very stylish—thanks in large part, Chen says, to the design work of Wolfman Books founder Justin Carder. And Chen is especially proud of how few professional writers and chefs contributed to the zine. Instead, she pulled favors from her broader community of Bay Area friends and acquaintances—artists and cooks, but also tech workers and other regular folks. “It’s mostly people who never write, or never take pictures, sharing something,” Chen says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13911540\" class=\"wp-caption alignnone\" style=\"max-width: 992px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/mouth-2-mouth-layout-Fixed-10-1-21_3.jpg\" alt='Two illustrations of a slice of pizza, one showing the \"valley\" of wet and dehydrated sauce under the crust, the other showing the \"money shot\" of the spotted undercarriage.' width=\"992\" height=\"1474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth-2-mouth-layout-Fixed-10-1-21_3.jpg 992w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth-2-mouth-layout-Fixed-10-1-21_3-800x1189.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth-2-mouth-layout-Fixed-10-1-21_3-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/mouth-2-mouth-layout-Fixed-10-1-21_3-768x1141.jpg 768w\" sizes=\"(max-width: 992px) 100vw, 992px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Hallie Chen’s “Pizza Is a Place,” which draws on the author’s day job as an architect. \u003ccite>(Hallie Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The title comes from an offhand comment that Chen’s partner made one time about being glad that the two of them saw “mouth to mouth” about a particular food trend that they despised. (“I thought it was so clever but also deep,” Chen says.) For her, the term also evokes oral traditions, verbal communication, kissing and the act of a mother bird feeding its baby. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chen says she doesn’t consume enough food media to position \u003cem>Mouth2Mouth\u003c/em> as any kind of overt critique. But at its core, the zine isn’t very concerned with the topics covered by more traditional, mainstream food publications—as illustrated by the phrases of interest that Chen lists off in the first issue’s introduction: “cooks not just chefs, food-based experiences, anti-optimization, anti-listicle, general interest.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Beyond that overarching mood board, \u003cem>Mouth2Mouth \u003c/em>doesn’t stick to any overt theme. For the inaugural edition, Chen asked potential contributors to think broadly about family and memory. For the second issue, she hopes to solicit pieces that have something to do with matriarchs—though she acknowledges it’s hard to make specific demands when she doesn’t have a budget to pay contributors. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13911546\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/chloe-painting-1-scaled.jpg\" alt='Watercolor painting of three fruits in different sizes and shades of green: \"your avocado\" (the smallest), \"my avocado\" and \"a papaya.\"' width=\"2560\" height=\"1656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-1536x994.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-2048x1325.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/chloe-painting-1-1920x1242.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">“My Avocado,” by Chloe Roth—one of the many pieces of loosely food-themed artwork featured in Mouth2Mouth. \u003ccite>(Chloe Roth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911539\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/secrets_chinweokona-scaled.jpg\" alt='A photo collage: a mother giving her child a bath in the sink; the text reads, \"I wish I knew your secrets: pecan pie, biscuits, okra stew.\"' width=\"2560\" height=\"1978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-1536x1187.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-2048x1583.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/secrets_chinweokona-1920x1484.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">“Art Secrets,” by Chinwe Okona. \u003ccite>(Chinwe Okona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those interested in submitting writing or art to the second issue of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mouth2Mouth \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">should email Chen at hahallie@gmail.com by April 15. Her hope is to produce and print the issue in time to sell it at this year’s \u003c/span>\u003ca href=\"https://sfartbookfair.com/\">\u003cspan style=\"font-weight: 400\">San Francisco Art Book Fair\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, July 15–17, where she hopes to have a table. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Otherwise, \u003ci>Mouth2Mouth\u003c/i> isn’t easy to snag. Copies of the first issue ($15) are \u003ca href=\"https://flosseditions.com/shop/mouth2mouth\">available periodically\u003c/a> via the Oakland home-based indie art book printing house, \u003ca href=\"https://www.kqed.org/arts/13876332/the-hustle-floss-editions-art-book-publishers\">Floss Editions\u003c/a>. For the time being, the zine doesn’t exist in digital form on the internet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13910817,arts_13906189,arts_13900311",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Chen says she started \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mouth2Mouth \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">during the pandemic in part because she had a little bit more free time. But the act of making zines has been a part of her life for as long as she can remember, going back to the days when, as a teenager, she’d go to shows at the Long Haul Infoshop and 924 Gilman in Berkeley—both epicenters of Bay Area zine culture. She sees the practice as an indispensable part of the region’s punk heritage. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now Chen hopes to keep her new food zine going for as long as she can—though she doubts it’ll ever be more than a side gig. She doesn’t \u003cem>actually \u003c/em>aspire to run the next \u003cem>Lucky Peach\u003c/em>. And, anyway, it’s the amateur, DIY aspect of the project that appeals to her. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People constantly surprise me—people I think I know well through friendship,” Chen says. “It’s so incredible to learn the depth and breadth of people’s capabilities.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13911528/mouth2mouth-food-zine-san-francisco-lucky-peach",
"authors": [
"11743"
],
"categories": [
"arts_1",
"arts_12276"
],
"tags": [
"arts_10278",
"arts_1146",
"arts_914"
],
"featImg": "arts_13911546",
"label": "source_arts_13911528"
},
"arts_13911243": {
"type": "posts",
"id": "arts_13911243",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13911243",
"score": null,
"sort": [
1648742401000
]
},
"guestAuthors": [],
"slug": "grace-cathedral-entrance-fee-guided-tour-keith-haring",
"title": "See Grace Cathedral With Fresh Eyes on New Self-Guided Tour",
"publishDate": 1648742401,
"format": "standard",
"headTitle": "See Grace Cathedral With Fresh Eyes on New Self-Guided Tour | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Let’s get this out of the way first: Grace Cathedral has \u003ca href=\"https://gracecathedral.org/plan-your-visit/\" rel=\"noopener noreferrer\" target=\"_blank\">introduced an entrance fee\u003c/a>. It doesn’t apply to those attending services, individuals looking for a place to pray, or children aged 11 and under. But entering the cathedral as a tourist will now set you back $10-$12, depending on your age. \u003c/p>\n\u003cp>The good news is that, giving you more bang for your buck, Grace has installed a 12-stop electronic tour guide to the cathedral’s art, history and architecture. Docent-led tours are still available once a day (priced $18-$20), but the self-guided tour offers something to folks just casually dropping in.\u003c/p>\n\u003cp>[aside postID='arts_10957761']I recently took myself around the loop of interactive screens, and honestly? The tour felt worth the fee. The abundance of facts shared about the cathedral will surprise most casual visitors, and delight any and all history nerds.\u003c/p>\n\u003cp>Here are just five nuggets I found out on the tour:\u003c/p>\n\u003cul>\n\u003cli>The Keith Haring altarpiece in the AIDS Memorial Chapel was a gift from Yoko Ono.\u003cbr>\nThurgood Marshall is depicted in one of the cathedral’s stained glass windows.\u003c/li>\n\u003cli>After the 1906 earthquake, rector David J. Evans rescued holy objects from the burning Grace Church (then located at Stockton and California). Some of those relics are still used in Grace Cathedral services and communions today.\u003c/li>\n\u003cli>In 1934, Ansel Adams was hired by Grace’s lead architect Lewis Hobart to take a series of portraits of the cathedral. Three of those photographs are currently on display, donated by Hobart’s son.\u003c/li>\n\u003cli>The glowing ladder installation that’s been in the cathedral since 2016 was co-created by Jim Campbell—the same artist responsible for turning the top of the Salesforce Tower into an LED display.\u003c/li>\n\u003c/ul>\n\u003cp>I’m barely even scratching the surface here.\u003c/p>\n\u003cfigure id=\"attachment_13911245\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173737-1020x1379.jpg\" alt=\"A stained glass window of Jesus and the Woman from Samaria sits behind and above 'Coffer'—a wood chip sculpture by Californian artist Richard Faralla. \" width=\"640\" height=\"865\" class=\"size-large wp-image-13911245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1020x1379.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-800x1082.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1136x1536.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1515x2048.jpg 1515w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1920x2596.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-scaled.jpg 1893w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A stained glass window of Jesus and the Woman from Samaria sits behind and above ‘Coffer’—a wood chip sculpture by Californian artist Richard Faralla. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether or not you think it’s right to charge people to enter religious buildings is entirely up to you. Some cathedrals—like Notre Dame or the Sacré-Cœur in Paris—don’t charge a dime. Others have no qualms about taking your lunch money—like London’s St. Paul’s (£16-£18), or Duomo Cathedral in Milan (€2-€17).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For me, what it boils down to is this: Grace Cathedral is a beautiful building that serves as a fascinating portal into San Francisco history. But it’s also a modern space where interfaith principles and progressive ideals comfortably commingle. This institution’s ability to gaze into—and honor—the past, while keeping one eye squarely on the here and now, is hard to put a price on. Think about it that way, and $12 doesn’t seem unreasonable.\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>\u003ca href=\"https://gracecathedral.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grace Cathedral\u003c/a> is open to visitors Monday through Saturday, 10am-5pm. A calendar of \u003ca href=\"https://gracecathedral.org/service-times/\" target=\"_blank\" rel=\"noopener noreferrer\">services\u003c/a> and \u003ca href=\"https://gracecathedral.org/calendar-events/\" target=\"_blank\" rel=\"noopener noreferrer\">special events\u003c/a> can be found at the Grace Cathedral website.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Grace has introduced a $12 entrance fee. Here's why it's worth every cent.",
"status": "publish",
"parent": 0,
"modified": 1726771225,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 527
},
"headData": {
"title": "See Grace Cathedral With Fresh Eyes on New Self-Guided Tour | KQED",
"description": "Grace has introduced a $12 entrance fee. Here's why it's worth every cent.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "See Grace Cathedral With Fresh Eyes on New Self-Guided Tour",
"datePublished": "2022-03-31T09:00:01-07:00",
"dateModified": "2024-09-19T11:40:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13911243/grace-cathedral-entrance-fee-guided-tour-keith-haring",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way first: Grace Cathedral has \u003ca href=\"https://gracecathedral.org/plan-your-visit/\" rel=\"noopener noreferrer\" target=\"_blank\">introduced an entrance fee\u003c/a>. It doesn’t apply to those attending services, individuals looking for a place to pray, or children aged 11 and under. But entering the cathedral as a tourist will now set you back $10-$12, depending on your age. \u003c/p>\n\u003cp>The good news is that, giving you more bang for your buck, Grace has installed a 12-stop electronic tour guide to the cathedral’s art, history and architecture. Docent-led tours are still available once a day (priced $18-$20), but the self-guided tour offers something to folks just casually dropping in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_10957761",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>I recently took myself around the loop of interactive screens, and honestly? The tour felt worth the fee. The abundance of facts shared about the cathedral will surprise most casual visitors, and delight any and all history nerds.\u003c/p>\n\u003cp>Here are just five nuggets I found out on the tour:\u003c/p>\n\u003cul>\n\u003cli>The Keith Haring altarpiece in the AIDS Memorial Chapel was a gift from Yoko Ono.\u003cbr>\nThurgood Marshall is depicted in one of the cathedral’s stained glass windows.\u003c/li>\n\u003cli>After the 1906 earthquake, rector David J. Evans rescued holy objects from the burning Grace Church (then located at Stockton and California). Some of those relics are still used in Grace Cathedral services and communions today.\u003c/li>\n\u003cli>In 1934, Ansel Adams was hired by Grace’s lead architect Lewis Hobart to take a series of portraits of the cathedral. Three of those photographs are currently on display, donated by Hobart’s son.\u003c/li>\n\u003cli>The glowing ladder installation that’s been in the cathedral since 2016 was co-created by Jim Campbell—the same artist responsible for turning the top of the Salesforce Tower into an LED display.\u003c/li>\n\u003c/ul>\n\u003cp>I’m barely even scratching the surface here.\u003c/p>\n\u003cfigure id=\"attachment_13911245\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173737-1020x1379.jpg\" alt=\"A stained glass window of Jesus and the Woman from Samaria sits behind and above 'Coffer'—a wood chip sculpture by Californian artist Richard Faralla. \" width=\"640\" height=\"865\" class=\"size-large wp-image-13911245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1020x1379.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-800x1082.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1136x1536.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1515x2048.jpg 1515w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1920x2596.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-scaled.jpg 1893w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A stained glass window of Jesus and the Woman from Samaria sits behind and above ‘Coffer’—a wood chip sculpture by Californian artist Richard Faralla. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether or not you think it’s right to charge people to enter religious buildings is entirely up to you. Some cathedrals—like Notre Dame or the Sacré-Cœur in Paris—don’t charge a dime. Others have no qualms about taking your lunch money—like London’s St. Paul’s (£16-£18), or Duomo Cathedral in Milan (€2-€17).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For me, what it boils down to is this: Grace Cathedral is a beautiful building that serves as a fascinating portal into San Francisco history. But it’s also a modern space where interfaith principles and progressive ideals comfortably commingle. This institution’s ability to gaze into—and honor—the past, while keeping one eye squarely on the here and now, is hard to put a price on. Think about it that way, and $12 doesn’t seem unreasonable.\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>\u003ca href=\"https://gracecathedral.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grace Cathedral\u003c/a> is open to visitors Monday through Saturday, 10am-5pm. A calendar of \u003ca href=\"https://gracecathedral.org/service-times/\" target=\"_blank\" rel=\"noopener noreferrer\">services\u003c/a> and \u003ca href=\"https://gracecathedral.org/calendar-events/\" target=\"_blank\" rel=\"noopener noreferrer\">special events\u003c/a> can be found at the Grace Cathedral website.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13911243/grace-cathedral-entrance-fee-guided-tour-keith-haring",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1626",
"arts_1006",
"arts_1146",
"arts_585",
"arts_12237"
],
"featImg": "arts_13911244",
"label": "arts_140"
},
"arts_13911226": {
"type": "posts",
"id": "arts_13911226",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13911226",
"score": null,
"sort": [
1648580459000
]
},
"guestAuthors": [],
"slug": "samora-pinderhughes-ybca-the-healing-project",
"title": "'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal?",
"publishDate": 1648580459,
"format": "audio",
"headTitle": "‘The Healing Project’ Asks: How Do We Survive in America? And How Do We Heal? | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"https://www.samorapinderhughes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samora Pinderhughes\u003c/a> spent the past eight years exploring two questions.\u003c/p>\n\u003cp>“One is, how do we survive in America? And the other is how do we heal on a daily basis?” says the Bay Area-raised composer, pianist, filmmaker, singer and activist in an interview with KQED.\u003c/p>\n\u003cp>The result of his investigation is \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Healing Project\u003c/em>,\u003c/a> a kaleidoscopic, highly collaborative creative endeavor comprised of a \u003ca href=\"https://www.last.fm/music/Samora+Pinderhughes/GRIEF\" target=\"_blank\" rel=\"noopener noreferrer\">15-track album\u003c/a>; an exhibition at San Francisco’s \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA); an audio archive of interviews with more than 100 people across 15 states who’ve encountered structural violence like incarceration, detention or community shootings in their daily lives; and a concert series, including a performance \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">on Saturday, April 2, at Stanford Live\u003c/a>.\u003c/p>\n\u003cp>“The project as a whole is about the experience of dealing with American institutions that create poverty,” says Pinderhughes. “Because I think a lot of times, we don’t ask people about their experiences with these systems, like, ‘What’s your day to day reality? What are you facing? How do you heal yourself?'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jJvoxZpFavo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pinderhughes’ album, \u003cem>Grief\u003c/em>, is at the core of the project. The song “Holding Cell,” which vividly explores the two questions, imagines letters written by three inmates. One is on death row. Another is an undocumented immigrant in a detention center, and a third is in prison awaiting trial. While the chorus highlights the failures of the prison industrial complex across the spectrum (“Holding cell, holding cell / I can’t get well while you hold me”), the second verse points to a more healing future:\u003c/p>\n\u003cp>\u003cem>I want a quiet\u003cbr>\nlife In a flat\u003cbr>\nwith Church on a Sunday I got a voice\u003cbr>\nAnd I got a laugh\u003cbr>\nAnd I’ll use it one day\u003c/em>\u003c/p>\n\u003cp>[aside postID='arts_12059349']\u003cem>The Healing Project\u003c/em> involves dozens of collaborators, among them Pinderhughes’ own sister, the renowned flautist and vocalist \u003ca href=\"https://nyphil.org/about-us/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Elena Pinderhughes\u003c/a>. Elena is featured on the album and will appear in live performances alongside her brother; filmmaker \u003ca href=\"https://christianpadron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christian Padron\u003c/a> collaborated on several music videos based on songs from the new album and additional films; and weaving/fiber artist \u003ca href=\"https://ybca.org/artist/nnaemeka-emeka-ekwelum/\" target=\"_blank\" rel=\"noopener noreferrer\">Nnaemeka Ekwelum\u003c/a>‘s series of brilliantly-colored, intricate “Grief Cloths” adorn the walls of the YBCA exhibition.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“When I was weaving the ‘Grief Cloths,’ I wasn’t just thinking through my own personal grief,” says Ekwelum, who started making the flowing sculptures from plastic lacing, yarn and other materials in response to his father’s death in March 2021. “I was also thinking about the collective grief of this moment we’re all living through, with so much despair, dysfunction and structural damage.”\u003c/p>\n\u003cp>Ekwelum says the “Grief Cloths” not only embody personal and systemic grief, but also point towards healing.\u003c/p>\n\u003cp>“I’m coming into weaving from a place of anxiety or a deep sadness. And then by the end of the weaving process, I have this beautiful object that I’ve created from these difficult feelings being reflected back at me,” he says. “I’m modeling a way to transform pain into something beautiful that doesn’t eclipse the significance of what you’re feeling, but can memorialize it in a way where you can look at it and accept the lessons from it without feeling totally deflated or intimidated by what it is.”\u003c/p>\n\u003cfigure id=\"attachment_13911249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief Cloths’ by fiber artist Nnaemeka Ekwelum. Left-hand wall. ‘The Healing Project,’ installation view, Yerba Buena Center for the Arts, 2022. \u003ccite>(Courtesy Yerba Buena Center for the Arts. Photographs by Charlie Villyard. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Healing Project\u003c/em> also includes significant contributions from incarcerated people.\u003c/p>\n\u003cp>A small, blue-colored room in the corner of YBCA’s galleries is devoted to select voices of the many people Pinderhughes interviewed for the project, heard via a looped audio feed. One is activist and artist \u003ca href=\"https://www.keithlamar.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith LaMar\u003c/a>, a death row inmate in Ohio, who’s been in solitary confinement for the past three decades. He is scheduled to be executed next year.\u003c/p>\n\u003cp>“The truly tragic element of my situation is that it’s not personal,” says LaMar (whose meditations can also be heard in a series of videos on social media featuring a sparse musical tracks by Pinderhughes). “This could happen to anybody.”\u003c/p>\n\u003cfigure id=\"attachment_13911248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911248 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of images by Pitt Panther. \u003ccite>(Courtesy Pitt Panther)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the hand-drawn, black-and-white works on paper by Pitt Panther, such as representations of George Floyd and Black Power symbols. Panther is currently serving a prison sentence in Virginia.\u003c/p>\n\u003cp>“Pitt Panther sends me these pieces through the mail,” says Pinderhughes. “He’s one of my favorite artists in the world.”\u003c/p>\n\u003cp>YBCA’s Chief of Program Meklit Hadero says one of the powerful things about \u003cem>The Healing Project\u003c/em> is that it centers real human lived experiences at the same time as exploring massive and seemingly intractable societal problems.\u003c/p>\n\u003cp>“A lot of times when we talk about these big systems, we talk about them from places of statistics or numbers or ways that feel so impersonal that things can get brushed aside,” Hadero says. “It becomes real when it’s about people.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>Pinderhughes hopes \u003cem>The Healing Project\u003c/em> will create space for people to come together to grieve, and mend, and ultimately imagine a more equitable future.\u003c/p>\n\u003cp>“It’s my attempt,” he says, “to communicate an abolitionist vision.”\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>\u003cem>‘The Healing Project’ runs through June 19 at Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Samora Pinderhughes performs with Elena Pinderhughes, Howard Wiley, Marcus Shelby, and Bobby Gonz at the Bing Studio at Stanford on Saturday, April 2. \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Samora Pinderhughes uses music, visual art and interviews to explore the damage caused by incarceration, policing and violence.",
"status": "publish",
"parent": 0,
"modified": 1777324314,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 997
},
"headData": {
"title": "'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal? | KQED",
"description": "Samora Pinderhughes uses music, visual art and interviews to explore the damage caused by incarceration, policing and violence.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal?",
"datePublished": "2022-03-29T12:00:59-07:00",
"dateModified": "2026-04-27T14:11:54-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/99ae4467-d380-4cd4-9c9a-ae6a012a4a0d/audio.mp3",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13911226/samora-pinderhughes-ybca-the-healing-project",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.samorapinderhughes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samora Pinderhughes\u003c/a> spent the past eight years exploring two questions.\u003c/p>\n\u003cp>“One is, how do we survive in America? And the other is how do we heal on a daily basis?” says the Bay Area-raised composer, pianist, filmmaker, singer and activist in an interview with KQED.\u003c/p>\n\u003cp>The result of his investigation is \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Healing Project\u003c/em>,\u003c/a> a kaleidoscopic, highly collaborative creative endeavor comprised of a \u003ca href=\"https://www.last.fm/music/Samora+Pinderhughes/GRIEF\" target=\"_blank\" rel=\"noopener noreferrer\">15-track album\u003c/a>; an exhibition at San Francisco’s \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA); an audio archive of interviews with more than 100 people across 15 states who’ve encountered structural violence like incarceration, detention or community shootings in their daily lives; and a concert series, including a performance \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">on Saturday, April 2, at Stanford Live\u003c/a>.\u003c/p>\n\u003cp>“The project as a whole is about the experience of dealing with American institutions that create poverty,” says Pinderhughes. “Because I think a lot of times, we don’t ask people about their experiences with these systems, like, ‘What’s your day to day reality? What are you facing? How do you heal yourself?'”\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/jJvoxZpFavo'\n title='//www.youtube.com/embed/jJvoxZpFavo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pinderhughes’ album, \u003cem>Grief\u003c/em>, is at the core of the project. The song “Holding Cell,” which vividly explores the two questions, imagines letters written by three inmates. One is on death row. Another is an undocumented immigrant in a detention center, and a third is in prison awaiting trial. While the chorus highlights the failures of the prison industrial complex across the spectrum (“Holding cell, holding cell / I can’t get well while you hold me”), the second verse points to a more healing future:\u003c/p>\n\u003cp>\u003cem>I want a quiet\u003cbr>\nlife In a flat\u003cbr>\nwith Church on a Sunday I got a voice\u003cbr>\nAnd I got a laugh\u003cbr>\nAnd I’ll use it one day\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_12059349",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Healing Project\u003c/em> involves dozens of collaborators, among them Pinderhughes’ own sister, the renowned flautist and vocalist \u003ca href=\"https://nyphil.org/about-us/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Elena Pinderhughes\u003c/a>. Elena is featured on the album and will appear in live performances alongside her brother; filmmaker \u003ca href=\"https://christianpadron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christian Padron\u003c/a> collaborated on several music videos based on songs from the new album and additional films; and weaving/fiber artist \u003ca href=\"https://ybca.org/artist/nnaemeka-emeka-ekwelum/\" target=\"_blank\" rel=\"noopener noreferrer\">Nnaemeka Ekwelum\u003c/a>‘s series of brilliantly-colored, intricate “Grief Cloths” adorn the walls of the YBCA exhibition.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“When I was weaving the ‘Grief Cloths,’ I wasn’t just thinking through my own personal grief,” says Ekwelum, who started making the flowing sculptures from plastic lacing, yarn and other materials in response to his father’s death in March 2021. “I was also thinking about the collective grief of this moment we’re all living through, with so much despair, dysfunction and structural damage.”\u003c/p>\n\u003cp>Ekwelum says the “Grief Cloths” not only embody personal and systemic grief, but also point towards healing.\u003c/p>\n\u003cp>“I’m coming into weaving from a place of anxiety or a deep sadness. And then by the end of the weaving process, I have this beautiful object that I’ve created from these difficult feelings being reflected back at me,” he says. “I’m modeling a way to transform pain into something beautiful that doesn’t eclipse the significance of what you’re feeling, but can memorialize it in a way where you can look at it and accept the lessons from it without feeling totally deflated or intimidated by what it is.”\u003c/p>\n\u003cfigure id=\"attachment_13911249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief Cloths’ by fiber artist Nnaemeka Ekwelum. Left-hand wall. ‘The Healing Project,’ installation view, Yerba Buena Center for the Arts, 2022. \u003ccite>(Courtesy Yerba Buena Center for the Arts. Photographs by Charlie Villyard. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Healing Project\u003c/em> also includes significant contributions from incarcerated people.\u003c/p>\n\u003cp>A small, blue-colored room in the corner of YBCA’s galleries is devoted to select voices of the many people Pinderhughes interviewed for the project, heard via a looped audio feed. One is activist and artist \u003ca href=\"https://www.keithlamar.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith LaMar\u003c/a>, a death row inmate in Ohio, who’s been in solitary confinement for the past three decades. He is scheduled to be executed next year.\u003c/p>\n\u003cp>“The truly tragic element of my situation is that it’s not personal,” says LaMar (whose meditations can also be heard in a series of videos on social media featuring a sparse musical tracks by Pinderhughes). “This could happen to anybody.”\u003c/p>\n\u003cfigure id=\"attachment_13911248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911248 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of images by Pitt Panther. \u003ccite>(Courtesy Pitt Panther)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the hand-drawn, black-and-white works on paper by Pitt Panther, such as representations of George Floyd and Black Power symbols. Panther is currently serving a prison sentence in Virginia.\u003c/p>\n\u003cp>“Pitt Panther sends me these pieces through the mail,” says Pinderhughes. “He’s one of my favorite artists in the world.”\u003c/p>\n\u003cp>YBCA’s Chief of Program Meklit Hadero says one of the powerful things about \u003cem>The Healing Project\u003c/em> is that it centers real human lived experiences at the same time as exploring massive and seemingly intractable societal problems.\u003c/p>\n\u003cp>“A lot of times when we talk about these big systems, we talk about them from places of statistics or numbers or ways that feel so impersonal that things can get brushed aside,” Hadero says. “It becomes real when it’s about people.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>Pinderhughes hopes \u003cem>The Healing Project\u003c/em> will create space for people to come together to grieve, and mend, and ultimately imagine a more equitable future.\u003c/p>\n\u003cp>“It’s my attempt,” he says, “to communicate an abolitionist vision.”\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>\u003cem>‘The Healing Project’ runs through June 19 at Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Samora Pinderhughes performs with Elena Pinderhughes, Howard Wiley, Marcus Shelby, and Bobby Gonz at the Bing Studio at Stanford on Saturday, April 2. \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13911226/samora-pinderhughes-ybca-the-healing-project",
"authors": [
"8608"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_70"
],
"tags": [
"arts_10342",
"arts_10278",
"arts_2683",
"arts_1420",
"arts_3584",
"arts_1526",
"arts_1146",
"arts_2265",
"arts_585",
"arts_1040",
"arts_1955"
],
"featImg": "arts_13911261",
"label": "arts_140"
},
"arts_13910664": {
"type": "posts",
"id": "arts_13910664",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13910664",
"score": null,
"sort": [
1647466801000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1647466801,
"format": "standard",
"title": "This Taiwanese Braised Pork Rice Is All About the Fat",
"headTitle": "This Taiwanese Braised Pork Rice Is All About the Fat | KQED",
"content": "\u003cp>The most important thing is to not skimp out on the fat. That was the main lesson that Ashley Yan took away from annual trips to Taiwan, where she fell in love with lu rou fan, the \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\" target=\"_blank\" rel=\"noopener noreferrer\">classic Taiwanese dish of braised pork belly over rice\u003c/a>. Here in the Bay Area? If she found the dish at all, it was almost always made with ground pork instead of pork belly. It never had the fatty richness that she remembered.\u003c/p>\n\u003cp>So after she was laid off from her day job with the pandemic still in full swing, Yan decided to start up a lu rou fan delivery service of her own. She launched \u003ca href=\"https://asyan77.wixsite.com/ashyansfood\">Ashyan’s Lu Ruo Fan\u003c/a> early last year out of a small kitchen in San Francisco’s Richmond District, delivering meals to customers in the northwestern part of the city. By the time she decided to take an extended break last February, she’d garnered a couple months’ worth of \u003ca href=\"https://www.yelp.com/biz/ashyans-lu-ruo-fan-san-francisco?\" target=\"_blank\" rel=\"noopener noreferrer\">stellar Yelp reviews\u003c/a>.\u003c/p>\n\u003cp>Now, Ashyan’s is back, and this time Yan is determined to share her lu rou fan with even more people in San Francisco and beyond. Her business is part of a growing wave of next-generation pop-ups and informal food entrepreneurs that have \u003ca href=\"https://www.kqed.org/arts/13897272/bay-area-taiwanese-food-scene-nostalgia\">reinvigorated the Bay Area’s Taiwanese food scene\u003c/a>.\u003c/p>\n\u003cp>“I always loved the little random shops on the street,” Yan says of the lu rou fan stalls in Taiwan. “That’s what I envisioned and what I wanted.”\u003c/p>\n\u003cfigure id=\"attachment_13910674\" class=\"wp-caption alignnone\" style=\"max-width: 1139px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_1819.jpg\" alt=\"Pieces of hand-cut pork belly simmering in the pan.\" width=\"1139\" height=\"854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1819.jpg 1139w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1819-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1819-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1819-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1819-768x576.jpg 768w\" sizes=\"(max-width: 1139px) 100vw, 1139px\">\u003cfigcaption class=\"wp-caption-text\">To give her lu rou fan the luxurious richness that she wanted, Yan uses hand-cut pork belly that’s 70% fat. \u003ccite>(Ashyan's Lu Rou Fan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order to capture that elusive taste, Yan adheres to what she calls the “golden ratio”: pork belly that is roughly 70% fat and 30% meat. Searing off the slabs of pork belly and cutting them up by hand is by far the most labor-intensive part of the cooking process, so Yan says she understands why local restaurants would choose to substitute ground pork.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there’s no comparing the taste and texture. Yan’s lu rou fan isn’t as salty as other local versions, nor does it have the tinge of sweetness that you get with recipes that are heavier on the rock sugar. What it does have, however, is a rich depth of flavor that comes from all of the rendered pork fat that soaks into the rice.\u003c/p>\n\u003cp>“It’s comfort food at its core, and that’s what I want to keep it as,” Yan says.\u003c/p>\n\u003cp>For now, the lu rou fan is the only featured menu item. For $16, it’s a complete meal that comes with a hard-boiled egg and a few slices of pickled daikon to cut into the heaviness of the meat. Recently she also included a tangy salad studded with colorful bell peppers and kalamata olives—a bit of a fresh, light California touch.\u003c/p>\n\u003cp>[aside postID='arts_13897272,arts_13897498,arts_13901982']Up until this point, Yan has only had the capacity to do about 30 or 35 orders at a time, so she hasn’t had to do much marketing. Her email list, mostly collected from her initial posts on Next Door and her neighborhood “Buy Nothing” page on Facebook, has been robust enough to allow her to sell out just hours after she opens her online pre-ordering form each time.\u003c/p>\n\u003cp>Now Yan, who worked in the Bay Area restaurant industry for 14 years, mostly as a server and event planner, is thinking about how to best take Ashyan’s to the next level. For the next few months, at least, she’ll continue to operate on a small scale, selling her lu rou fan about three days a month—two days for delivery in the Richmond, Lone Mountain and Laurel Heights neighborhoods, and one day for pickup at her kitchen in the Richmond.\u003c/p>\n\u003cp>But Yan is also looking to extend her reach. She’s exploring the possibility of working out of kitchens in Oakland and Redwood City, and she’s also accepting inquiries for catering orders from customers down the Peninsula and beyond. If all goes well, eventually she’d like to turn Ashyan’s Lu Ruo Fan into a food truck or a small brick-and-mortar restaurant.\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\u003cp>\u003c/p>\n\u003cp>\u003ci>The next lu rou fan sale dates for \u003ca href=\"https://www.instagram.com/ashyanfoods/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashyan’s Lu Ruo Fan\u003c/a>\u003ci> will be on March 30 and 31 (for delivery) and April 1 (for pickup). Customers can place orders via the \u003ca href=\"https://asyan77.wixsite.com/ashyansfood\" target=\"_blank\" rel=\"noopener noreferrer\">online order form\u003c/a>. For the latest updates, sign up for the business’ \u003ca href=\"https://asyan77.wixsite.com/ashyansfood\" target=\"_blank\" rel=\"noopener noreferrer\">email list\u003c/a>.\u003c/i>\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 798,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705007083,
"excerpt": "Ashyan’s Lu Rou Fan sells classic Taiwanese comfort food for pickup and delivery in the Richmond District.",
"headData": {
"twImgId": "",
"twTitle": "This Taiwanese Braised Pork Rice Is All About the Fat",
"socialTitle": "Ashyan’s Lu Ruo Fan Brings Taiwanese Braised Pork Rice to SF %%page%% %%sep%% KQED",
"ogTitle": "This Taiwanese Braised Pork Rice Is All About the Fat",
"ogImgId": "",
"twDescription": "",
"description": "Ashyan’s Lu Rou Fan sells classic Taiwanese comfort food for pickup and delivery in the Richmond District.",
"title": "Ashyan’s Lu Ruo Fan Brings Taiwanese Braised Pork Rice to SF | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "This Taiwanese Braised Pork Rice Is All About the Fat",
"datePublished": "2022-03-16T14:40:01-07:00",
"dateModified": "2024-01-11T13:04:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ashyans-lu-rou-fan-taiwanese-braised-pork-rice-richmond-san-francisco",
"status": "publish",
"sourceUrl": "/food/",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"source": "Food",
"path": "/arts/13910664/ashyans-lu-rou-fan-taiwanese-braised-pork-rice-richmond-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most important thing is to not skimp out on the fat. That was the main lesson that Ashley Yan took away from annual trips to Taiwan, where she fell in love with lu rou fan, the \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\" target=\"_blank\" rel=\"noopener noreferrer\">classic Taiwanese dish of braised pork belly over rice\u003c/a>. Here in the Bay Area? If she found the dish at all, it was almost always made with ground pork instead of pork belly. It never had the fatty richness that she remembered.\u003c/p>\n\u003cp>So after she was laid off from her day job with the pandemic still in full swing, Yan decided to start up a lu rou fan delivery service of her own. She launched \u003ca href=\"https://asyan77.wixsite.com/ashyansfood\">Ashyan’s Lu Ruo Fan\u003c/a> early last year out of a small kitchen in San Francisco’s Richmond District, delivering meals to customers in the northwestern part of the city. By the time she decided to take an extended break last February, she’d garnered a couple months’ worth of \u003ca href=\"https://www.yelp.com/biz/ashyans-lu-ruo-fan-san-francisco?\" target=\"_blank\" rel=\"noopener noreferrer\">stellar Yelp reviews\u003c/a>.\u003c/p>\n\u003cp>Now, Ashyan’s is back, and this time Yan is determined to share her lu rou fan with even more people in San Francisco and beyond. Her business is part of a growing wave of next-generation pop-ups and informal food entrepreneurs that have \u003ca href=\"https://www.kqed.org/arts/13897272/bay-area-taiwanese-food-scene-nostalgia\">reinvigorated the Bay Area’s Taiwanese food scene\u003c/a>.\u003c/p>\n\u003cp>“I always loved the little random shops on the street,” Yan says of the lu rou fan stalls in Taiwan. “That’s what I envisioned and what I wanted.”\u003c/p>\n\u003cfigure id=\"attachment_13910674\" class=\"wp-caption alignnone\" style=\"max-width: 1139px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_1819.jpg\" alt=\"Pieces of hand-cut pork belly simmering in the pan.\" width=\"1139\" height=\"854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1819.jpg 1139w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1819-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1819-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1819-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1819-768x576.jpg 768w\" sizes=\"(max-width: 1139px) 100vw, 1139px\">\u003cfigcaption class=\"wp-caption-text\">To give her lu rou fan the luxurious richness that she wanted, Yan uses hand-cut pork belly that’s 70% fat. \u003ccite>(Ashyan's Lu Rou Fan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order to capture that elusive taste, Yan adheres to what she calls the “golden ratio”: pork belly that is roughly 70% fat and 30% meat. Searing off the slabs of pork belly and cutting them up by hand is by far the most labor-intensive part of the cooking process, so Yan says she understands why local restaurants would choose to substitute ground pork.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there’s no comparing the taste and texture. Yan’s lu rou fan isn’t as salty as other local versions, nor does it have the tinge of sweetness that you get with recipes that are heavier on the rock sugar. What it does have, however, is a rich depth of flavor that comes from all of the rendered pork fat that soaks into the rice.\u003c/p>\n\u003cp>“It’s comfort food at its core, and that’s what I want to keep it as,” Yan says.\u003c/p>\n\u003cp>For now, the lu rou fan is the only featured menu item. For $16, it’s a complete meal that comes with a hard-boiled egg and a few slices of pickled daikon to cut into the heaviness of the meat. Recently she also included a tangy salad studded with colorful bell peppers and kalamata olives—a bit of a fresh, light California touch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13897272,arts_13897498,arts_13901982",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Up until this point, Yan has only had the capacity to do about 30 or 35 orders at a time, so she hasn’t had to do much marketing. Her email list, mostly collected from her initial posts on Next Door and her neighborhood “Buy Nothing” page on Facebook, has been robust enough to allow her to sell out just hours after she opens her online pre-ordering form each time.\u003c/p>\n\u003cp>Now Yan, who worked in the Bay Area restaurant industry for 14 years, mostly as a server and event planner, is thinking about how to best take Ashyan’s to the next level. For the next few months, at least, she’ll continue to operate on a small scale, selling her lu rou fan about three days a month—two days for delivery in the Richmond, Lone Mountain and Laurel Heights neighborhoods, and one day for pickup at her kitchen in the Richmond.\u003c/p>\n\u003cp>But Yan is also looking to extend her reach. She’s exploring the possibility of working out of kitchens in Oakland and Redwood City, and she’s also accepting inquiries for catering orders from customers down the Peninsula and beyond. If all goes well, eventually she’d like to turn Ashyan’s Lu Ruo Fan into a food truck or a small brick-and-mortar restaurant.\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\u003cp>\u003c/p>\n\u003cp>\u003ci>The next lu rou fan sale dates for \u003ca href=\"https://www.instagram.com/ashyanfoods/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashyan’s Lu Ruo Fan\u003c/a>\u003ci> will be on March 30 and 31 (for delivery) and April 1 (for pickup). Customers can place orders via the \u003ca href=\"https://asyan77.wixsite.com/ashyansfood\" target=\"_blank\" rel=\"noopener noreferrer\">online order form\u003c/a>. For the latest updates, sign up for the business’ \u003ca href=\"https://asyan77.wixsite.com/ashyansfood\" target=\"_blank\" rel=\"noopener noreferrer\">email list\u003c/a>.\u003c/i>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13910664/ashyans-lu-rou-fan-taiwanese-braised-pork-rice-richmond-san-francisco",
"authors": [
"11743"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_12276"
],
"tags": [
"arts_10278",
"arts_14089",
"arts_1146",
"arts_15151",
"arts_585"
],
"featImg": "arts_13910673",
"label": "source_arts_13910664"
},
"arts_13910221": {
"type": "posts",
"id": "arts_13910221",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13910221",
"score": null,
"sort": [
1646774339000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1646774339,
"format": "standard",
"title": "Hip-Hop Collective Family Not a Group Lives Up to Its Name",
"headTitle": "Hip-Hop Collective Family Not a Group Lives Up to Its Name | KQED",
"content": "\u003cp>You can’t stop artists from coming together. Hit ’em with a global pandemic, gas prices that are through the roof, housing costs through the stratosphere and a long list of music venues that have closed down—whatever. \u003cem>Artists are going to be artist\u003c/em>s. They’re going to come together to create, and I’m all here for it.\u003c/p>\n\u003cp>In San Francisco, there’s a very large and extremely talented faction of lyricists, singers, DJs and musicians who are coming together, creating moments and memories, and having fun while doing so.\u003c/p>\n\u003cp>On Wednesday Night the 17-member collective known as \u003ca href=\"https://www.instagram.com/p/CanQJz3PEDZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Family Not A Group\u003c/a> is set to hit the stage, collectively.\u003c/p>\n\u003cfigure id=\"attachment_13910243\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n.jpg\" alt=\"The night Family Not a Group came together in New York.\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n-160x213.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">The night Family Not a Group came together in New York. \u003ccite>(Via Baghead)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’re scheduled to perform at The Chapel, and the \u003ca href=\"https://thechapelsf.com/e/269265027947/?utm_source=fb1&utm_medium=shr\" target=\"_blank\" rel=\"noopener noreferrer\">March 9 show\u003c/a> will be the ensemble’s first major performance in their hometown of San Francisco. The show will be headlined by two artists who aren’t officially in the collective, but they’re “family friends”—singer \u003ca href=\"https://www.instagram.com/astu.music/\" target=\"_blank\" rel=\"noopener noreferrer\">Astu\u003c/a> and lyricists-slash-vocalist \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a>. They’ll be flanked by performances from \u003ca href=\"https://www.instagram.com/baghead.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Baghead\u003c/a>, \u003ca href=\"https://www.instagram.com/aft.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Afterthought\u003c/a> and \u003ca href=\"https://www.instagram.com/ozersf/\" target=\"_blank\" rel=\"noopener noreferrer\">Ozer, \u003c/a>who are just three of the 17-member conglomerate.\u003c/p>\n\u003cp>Along with Baghead, Afterthought and Ozer, there’s \u003ca href=\"https://www.instagram.com/bae.areash/\" target=\"_blank\" rel=\"noopener noreferrer\">ASH\u003c/a>, \u003ca href=\"https://www.instagram.com/serg.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Serg2x\u003c/a>, \u003ca href=\"https://www.instagram.com/everybodylovezmike/\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Evans Jr.\u003c/a>, \u003ca href=\"https://www.instagram.com/thejenset/\" target=\"_blank\" rel=\"noopener noreferrer\">Jenset\u003c/a>, \u003ca href=\"https://www.instagram.com/maya_canales/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Canales\u003c/a>, \u003ca href=\"https://www.instagram.com/captain_cuadra/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand-O\u003c/a>, \u003ca href=\"https://www.instagram.com/maddamcyn/\" target=\"_blank\" rel=\"noopener noreferrer\">Cynny\u003c/a>, \u003ca href=\"https://www.instagram.com/professagabel/\" target=\"_blank\" rel=\"noopener noreferrer\">Professa Gabel\u003c/a>, \u003ca href=\"https://www.instagram.com/ap.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>, \u003ca href=\"https://www.instagram.com/kaly_incognegreaux/\" target=\"_blank\" rel=\"noopener noreferrer\">Kaly Jay\u003c/a>, \u003ca href=\"https://www.instagram.com/sayheykiid/\" target=\"_blank\" rel=\"noopener noreferrer\">DJSAY\u003c/a>, \u003ca href=\"https://www.instagram.com/shotbyjesstarantino/\" target=\"_blank\" rel=\"noopener noreferrer\">JessTarantino\u003c/a>, \u003ca href=\"https://www.instagram.com/sunday.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">SundaY\u003c/a> and \u003ca href=\"https://www.instagram.com/easweh/\" target=\"_blank\" rel=\"noopener noreferrer\">EaSWay\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The majority of the camp is from the City, with some folks hailing from other areas of the Bay, but the team’s origin story starts at a show in the Big Apple.\u003c/p>\n\u003cp>“When we went to New York, we performed at East Berlin,” Ozer tells me during a phone call. The crew did a show called “The Frisco Invasion” at the intimate, popular venue in The East Village. A couple things went wrong. Notably, the computer died before the show started and required someone to make an hour-long trek to get a replacement. But the show was good.\u003c/p>\n\u003cp>“I can’t remember if it was the venue manager or the sound engineer, but they said we killed it,” Ozer reflects. “The next day we talked amongst ourselves and said we’ve got something special here… and that’s how Family Not a Group was born.”\u003c/p>\n\u003cfigure id=\"attachment_13910246\" class=\"wp-caption alignnone\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910246\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n.jpg\" alt=\"Family Not a Group members pose for a photo while rocking a show in San Francisco last year. \" width=\"480\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n-160x120.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Family Not a Group members pose for a photo while rocking a show in San Francisco last year. \u003ccite>(Via Baghead)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before that show, the nucleus had been forming. The individual artists would constantly support one another, showing up to performances and appearing on each other’s projects.\u003c/p>\n\u003cp>On Ozer’s latest album, \u003cem>Lost In Translation\u003c/em>, which dropped in July of last year, there are appearances from crew members Kaly Jay, EaSWay, Professa Gabel and more. [aside postid='arts_13908051']\u003c/p>\n\u003cp>The project is a lyrical exploration into some of the darker moments in Ozer’s life, and how he and his loved ones have persevered. He speaks on an incident that led to his father’s incarceration, and references his mother’s attempt at taking her own life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On the track “Purposeful,” the rapper from Bayview recites, “Shit, I got some skeleton in my footlocker / eye open, I know God not the only one watchin’. / Under fire, smoke in the air, we went through madness / hands full, it’s gettin’ hard to carry the baggage.”\u003c/p>\n\u003cdiv>\n\u003cp>At the end of a track with Lex Culture, “All Falls Down,” Ozer shares an intimate voice note. “I recorded that the night my grandfather died,” Ozer tells me “That takes me back to that night—it was a real moment for me.”\u003c/p>\n\u003cp>He plays with the concept of devils and angels in the song “D & A.” The track is a bit of a double-entendre, referring to humans’ genetic code and how we’re composed of both good and evil.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ozer - Purposeful (Official Music Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/YtD43HD7Lsw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The etymology of the name “Ozer,” also has two paths: one is a biblical reference and the other is slang for moving drugs.\u003c/p>\n\u003cp>As a teenager he sat in a barbershop when one of his father’s friends walked in, asking if he was “Little O?” After confirming that he is indeed his father’s son, the man donned the name “Little Ozer” on him. Little Ozer went back to his father, telling him that he planned on taking his title, “He was like, ‘You know what that means?'”\u003c/p>\n\u003cp>His father explained that they called him Ozer because he used to push a lot of ounces. Then “Little Ozer” did more research on the name, and found that it also means “God’s Helper” in Hebrew.\u003c/p>\n\u003cdiv>“It has a bad meaning and a good meaning, which represents human life in general,” Ozer tells me in the same deep-raspy voice he uses to deliver his lyrics.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cfigure id=\"attachment_13910247\" class=\"wp-caption alignright\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n.jpg\" alt=\"Ozer rocks the mic with his shirt off.\" width=\"360\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n.jpg 360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n-160x284.jpg 160w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003cfigcaption class=\"wp-caption-text\">Ozer rocks the mic with his shirt off. \u003ccite>(Ken IV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Destined for this path, Ozer’s grandmother told him he’d be a preacher, but he said it was something he couldn’t foresee. Now as an MC he says he’s reaching people, and he’s looking to keep spreading the word this Wednesday.\u003c/p>\n\u003c/div>\n\u003cdiv>The goal of Family Not a Group’s live shows is to “provide a memorable experience to everybody who comes to the show,” Ozer says. “It’s called ‘a family service,’ so it’s going to make you feel like family, and you’ll have a deeper connection to each artist that you see.”\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>The lineup is full of talented artists I’ve been following. Last year I did \u003ca href=\"https://www.kqed.org/arts/13895377/rightnowish-baghead-cerealforthekids\" target=\"_blank\" rel=\"noopener noreferrer\">a podcast interview\u003c/a> with Baghead, who along with \u003ca href=\"https://www.instagram.com/cerealforthekids/\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal For The Kids\u003c/a>, published a film and audio project called \u003ca href=\"https://www.youtube.com/watch?v=cWmX3Y5GnP8\" target=\"_blank\" rel=\"noopener noreferrer\">“Dedicated To Those Who.”\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13892200/musicians-to-know-jada-imani-on-vibing-with-hawaiian-frogs-and-riffing-off-mac-dre\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> was the subject of an interview from January of last year. I’ve hosted separate events where both Astu and Afterthought (and the band he’s a part of, The Top Chefs) have performed.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>I’ve also seen performances by a few of the other members of Family Not a Group, but I’ve yet to see Ozer. Before I got off the phone, I let him know that we’ll cross paths in due time. But what I didn’t explicitly tell him is that his words have already reached me—without having seen him in person yet.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/div>\n\u003cdiv>\u003cem>Family Not a Group presents “\u003ca href=\"https://thechapelsf.com/e/269265027947/?utm_source=fb1&utm_medium=shr\" target=\"_blank\" rel=\"noopener noreferrer\">A Family Service\u003c/a>” at The Chapel in San Francisco on March 9, with performances by Ozer, Astu, Jada Imani and Afterthought. \u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1163,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1707844792,
"excerpt": "Seventeen artists united for one cause: to create!",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Seventeen artists united for one cause: to create!",
"title": "Hip-Hop Collective Family Not a Group Lives Up to Its Name | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hip-Hop Collective Family Not a Group Lives Up to Its Name",
"datePublished": "2022-03-08T13:18:59-08:00",
"dateModified": "2024-02-13T09:19:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "family-not-a-group-san-francisco-rap",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"subhead": "17 artists with one cause: to create! ",
"articleAge": "0",
"path": "/arts/13910221/family-not-a-group-san-francisco-rap",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can’t stop artists from coming together. Hit ’em with a global pandemic, gas prices that are through the roof, housing costs through the stratosphere and a long list of music venues that have closed down—whatever. \u003cem>Artists are going to be artist\u003c/em>s. They’re going to come together to create, and I’m all here for it.\u003c/p>\n\u003cp>In San Francisco, there’s a very large and extremely talented faction of lyricists, singers, DJs and musicians who are coming together, creating moments and memories, and having fun while doing so.\u003c/p>\n\u003cp>On Wednesday Night the 17-member collective known as \u003ca href=\"https://www.instagram.com/p/CanQJz3PEDZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Family Not A Group\u003c/a> is set to hit the stage, collectively.\u003c/p>\n\u003cfigure id=\"attachment_13910243\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n.jpg\" alt=\"The night Family Not a Group came together in New York.\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n-160x213.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">The night Family Not a Group came together in New York. \u003ccite>(Via Baghead)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’re scheduled to perform at The Chapel, and the \u003ca href=\"https://thechapelsf.com/e/269265027947/?utm_source=fb1&utm_medium=shr\" target=\"_blank\" rel=\"noopener noreferrer\">March 9 show\u003c/a> will be the ensemble’s first major performance in their hometown of San Francisco. The show will be headlined by two artists who aren’t officially in the collective, but they’re “family friends”—singer \u003ca href=\"https://www.instagram.com/astu.music/\" target=\"_blank\" rel=\"noopener noreferrer\">Astu\u003c/a> and lyricists-slash-vocalist \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a>. They’ll be flanked by performances from \u003ca href=\"https://www.instagram.com/baghead.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Baghead\u003c/a>, \u003ca href=\"https://www.instagram.com/aft.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Afterthought\u003c/a> and \u003ca href=\"https://www.instagram.com/ozersf/\" target=\"_blank\" rel=\"noopener noreferrer\">Ozer, \u003c/a>who are just three of the 17-member conglomerate.\u003c/p>\n\u003cp>Along with Baghead, Afterthought and Ozer, there’s \u003ca href=\"https://www.instagram.com/bae.areash/\" target=\"_blank\" rel=\"noopener noreferrer\">ASH\u003c/a>, \u003ca href=\"https://www.instagram.com/serg.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Serg2x\u003c/a>, \u003ca href=\"https://www.instagram.com/everybodylovezmike/\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Evans Jr.\u003c/a>, \u003ca href=\"https://www.instagram.com/thejenset/\" target=\"_blank\" rel=\"noopener noreferrer\">Jenset\u003c/a>, \u003ca href=\"https://www.instagram.com/maya_canales/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Canales\u003c/a>, \u003ca href=\"https://www.instagram.com/captain_cuadra/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand-O\u003c/a>, \u003ca href=\"https://www.instagram.com/maddamcyn/\" target=\"_blank\" rel=\"noopener noreferrer\">Cynny\u003c/a>, \u003ca href=\"https://www.instagram.com/professagabel/\" target=\"_blank\" rel=\"noopener noreferrer\">Professa Gabel\u003c/a>, \u003ca href=\"https://www.instagram.com/ap.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>, \u003ca href=\"https://www.instagram.com/kaly_incognegreaux/\" target=\"_blank\" rel=\"noopener noreferrer\">Kaly Jay\u003c/a>, \u003ca href=\"https://www.instagram.com/sayheykiid/\" target=\"_blank\" rel=\"noopener noreferrer\">DJSAY\u003c/a>, \u003ca href=\"https://www.instagram.com/shotbyjesstarantino/\" target=\"_blank\" rel=\"noopener noreferrer\">JessTarantino\u003c/a>, \u003ca href=\"https://www.instagram.com/sunday.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">SundaY\u003c/a> and \u003ca href=\"https://www.instagram.com/easweh/\" target=\"_blank\" rel=\"noopener noreferrer\">EaSWay\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The majority of the camp is from the City, with some folks hailing from other areas of the Bay, but the team’s origin story starts at a show in the Big Apple.\u003c/p>\n\u003cp>“When we went to New York, we performed at East Berlin,” Ozer tells me during a phone call. The crew did a show called “The Frisco Invasion” at the intimate, popular venue in The East Village. A couple things went wrong. Notably, the computer died before the show started and required someone to make an hour-long trek to get a replacement. But the show was good.\u003c/p>\n\u003cp>“I can’t remember if it was the venue manager or the sound engineer, but they said we killed it,” Ozer reflects. “The next day we talked amongst ourselves and said we’ve got something special here… and that’s how Family Not a Group was born.”\u003c/p>\n\u003cfigure id=\"attachment_13910246\" class=\"wp-caption alignnone\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910246\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n.jpg\" alt=\"Family Not a Group members pose for a photo while rocking a show in San Francisco last year. \" width=\"480\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n-160x120.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Family Not a Group members pose for a photo while rocking a show in San Francisco last year. \u003ccite>(Via Baghead)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before that show, the nucleus had been forming. The individual artists would constantly support one another, showing up to performances and appearing on each other’s projects.\u003c/p>\n\u003cp>On Ozer’s latest album, \u003cem>Lost In Translation\u003c/em>, which dropped in July of last year, there are appearances from crew members Kaly Jay, EaSWay, Professa Gabel and more. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13908051",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project is a lyrical exploration into some of the darker moments in Ozer’s life, and how he and his loved ones have persevered. He speaks on an incident that led to his father’s incarceration, and references his mother’s attempt at taking her own life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the track “Purposeful,” the rapper from Bayview recites, “Shit, I got some skeleton in my footlocker / eye open, I know God not the only one watchin’. / Under fire, smoke in the air, we went through madness / hands full, it’s gettin’ hard to carry the baggage.”\u003c/p>\n\u003cdiv>\n\u003cp>At the end of a track with Lex Culture, “All Falls Down,” Ozer shares an intimate voice note. “I recorded that the night my grandfather died,” Ozer tells me “That takes me back to that night—it was a real moment for me.”\u003c/p>\n\u003cp>He plays with the concept of devils and angels in the song “D & A.” The track is a bit of a double-entendre, referring to humans’ genetic code and how we’re composed of both good and evil.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ozer - Purposeful (Official Music Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/YtD43HD7Lsw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The etymology of the name “Ozer,” also has two paths: one is a biblical reference and the other is slang for moving drugs.\u003c/p>\n\u003cp>As a teenager he sat in a barbershop when one of his father’s friends walked in, asking if he was “Little O?” After confirming that he is indeed his father’s son, the man donned the name “Little Ozer” on him. Little Ozer went back to his father, telling him that he planned on taking his title, “He was like, ‘You know what that means?'”\u003c/p>\n\u003cp>His father explained that they called him Ozer because he used to push a lot of ounces. Then “Little Ozer” did more research on the name, and found that it also means “God’s Helper” in Hebrew.\u003c/p>\n\u003cdiv>“It has a bad meaning and a good meaning, which represents human life in general,” Ozer tells me in the same deep-raspy voice he uses to deliver his lyrics.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cfigure id=\"attachment_13910247\" class=\"wp-caption alignright\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n.jpg\" alt=\"Ozer rocks the mic with his shirt off.\" width=\"360\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n.jpg 360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n-160x284.jpg 160w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003cfigcaption class=\"wp-caption-text\">Ozer rocks the mic with his shirt off. \u003ccite>(Ken IV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Destined for this path, Ozer’s grandmother told him he’d be a preacher, but he said it was something he couldn’t foresee. Now as an MC he says he’s reaching people, and he’s looking to keep spreading the word this Wednesday.\u003c/p>\n\u003c/div>\n\u003cdiv>The goal of Family Not a Group’s live shows is to “provide a memorable experience to everybody who comes to the show,” Ozer says. “It’s called ‘a family service,’ so it’s going to make you feel like family, and you’ll have a deeper connection to each artist that you see.”\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>The lineup is full of talented artists I’ve been following. Last year I did \u003ca href=\"https://www.kqed.org/arts/13895377/rightnowish-baghead-cerealforthekids\" target=\"_blank\" rel=\"noopener noreferrer\">a podcast interview\u003c/a> with Baghead, who along with \u003ca href=\"https://www.instagram.com/cerealforthekids/\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal For The Kids\u003c/a>, published a film and audio project called \u003ca href=\"https://www.youtube.com/watch?v=cWmX3Y5GnP8\" target=\"_blank\" rel=\"noopener noreferrer\">“Dedicated To Those Who.”\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13892200/musicians-to-know-jada-imani-on-vibing-with-hawaiian-frogs-and-riffing-off-mac-dre\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> was the subject of an interview from January of last year. I’ve hosted separate events where both Astu and Afterthought (and the band he’s a part of, The Top Chefs) have performed.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>I’ve also seen performances by a few of the other members of Family Not a Group, but I’ve yet to see Ozer. Before I got off the phone, I let him know that we’ll cross paths in due time. But what I didn’t explicitly tell him is that his words have already reached me—without having seen him in person yet.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/div>\n\u003cdiv>\u003cem>Family Not a Group presents “\u003ca href=\"https://thechapelsf.com/e/269265027947/?utm_source=fb1&utm_medium=shr\" target=\"_blank\" rel=\"noopener noreferrer\">A Family Service\u003c/a>” at The Chapel in San Francisco on March 9, with performances by Ozer, Astu, Jada Imani and Afterthought. \u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13910221/family-not-a-group-san-francisco-rap",
"authors": [
"11491"
],
"categories": [
"arts_1"
],
"tags": [
"arts_4018",
"arts_21930",
"arts_10278",
"arts_831",
"arts_11028",
"arts_16875",
"arts_16880",
"arts_924",
"arts_1146",
"arts_585"
],
"featImg": "arts_13910245",
"label": "arts"
},
"arts_13909273": {
"type": "posts",
"id": "arts_13909273",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13909273",
"score": null,
"sort": [
1644611204000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1644611204,
"format": "standard",
"title": "I Didn’t Hate the ‘Imagine Picasso’ Immersive Exhibition",
"headTitle": "I Didn’t Hate the ‘Imagine Picasso’ Immersive Exhibition | KQED",
"content": "\u003cp>It turns out not all immersive exhibitions are created equal.\u003c/p>\n\u003cp>I can’t believe I’m writing this, but I didn’t hate \u003ci>\u003ca href=\"https://www.imagine-picasso.com/san-francisco/#\" rel=\"noopener noreferrer\" target=\"_blank\">Imagine Picasso\u003c/a>\u003c/i>, San Francisco’s newest projected light display of paintings by a dead European man. \u003c/p>\n\u003cp>[aside postID='arts_13894558']You may have heard of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Immersive van Gogh\u003c/a>\u003c/i>, an “experience” at SVN West that courted us with cheesy “Gogh” puns and up-sold audiences on posters and cushions. In that presentation, van Gogh’s paintings came to life in bizarre and illogical ways. Édith Piaf sang the very French anthem \u003ci>Non, je ne regrette rien\u003c/i> while we looked at morphing images of the Dutch painter’s work. The whole thing was a vortex of animated brush strokes and painterly special effects that told you nothing about how the images were created, why van Gogh’s particular compositions carry such emotional weight or what the trajectory of his short, prolific career looked like. \u003c/p>\n\u003cp>\u003ci>Imagine Picasso\u003c/i> proves there’s an alternative to the funhouse model of immersive displays. Created by Annabelle Mauger and Julien Baron, the show is making its U.S. debut in San Francisco after stints in Lyon, Quebec and Vancouver. \u003ci>Imagine Picasso\u003c/i> occupies three “rooms” inside San Francisco’s Armory building (the former Kink.com headquarters) below the 80-foot ceilings of the former drill court.\u003c/p>\n\u003cp>The first room, a holding area before the official start of the show, is all sepia-toned photographs and red velvety couches—a version of Paris meant to introduce us to the kind of ambiance Pablo Picasso (“the most French Spanish artist,” according to one of the presenters) might have enjoyed in the first half of the 20th century. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To the right, a full gift shop, because of course.\u003c/p>\n\u003cfigure id=\"attachment_13909276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BioRoom_1200.jpg\" alt=\"Projected black and white images on standing screens\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13909276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BioRoom_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BioRoom_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BioRoom_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BioRoom_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BioRoom_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of ‘Imagine Picasso’ that provides an introduction to Pablo Picasso’s life and work. \u003ccite>(Courtesy Imagine Picasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the lounge, the presentation begins, surprisingly, with biography (previous “experiences” have set my bar so incredibly low). This room is lined on both sides with large text panels detailing Picasso’s life and the bodies of work he produced, with some glancing mentions of a “family crisis” and a “secret affair” that hint at his womanizing. Between the two walls of text: delicate scrims upon which black-and-white still and moving images of the artist are projected. \u003c/p>\n\u003cp>The effect here is quite lovely, if a bit chaotic. Light spilling through the transparent fabric falls at an angle against the floor. Images and sounds overlap. Dramatic quotes—Picasso is very quotable—about the importance of art and life and blood periodically flash in white text. \u003c/p>\n\u003cp>[aside postID='arts_13861247']Whether one chooses to read the (many) words on those panels is up to you. At least the creators of \u003ci>Imagine Picasso\u003c/i> give us the option of learning more. Immersive exhibition naysayers are often seen as snobs, privileging the individual artwork over the democratic and widely dispersed experience of many. But the flip side is no better: too many of these shows treat viewers as if they have no curiosity about the images they’re enjoying.\u003c/p>\n\u003cp>Which brings us to the main event. I was honestly unprepared for this. Did you know the Armory is the largest column-free enclosed space in San Francisco? The expanse is destabilizing. Compounding that, \u003ci>Imagine Picasso\u003c/i>’s projections spread across at least 20-foot-high walls, the wooden floor and numerous angular 3D shapes. The scene turns paintings into futuristic shards amid a precisely rendered digital wonderland.\u003c/p>\n\u003cfigure id=\"attachment_13909277\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Guernica_1200.jpg\" alt=\"Black and white images of suffering projected on walls and angular shapes\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13909277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Guernica_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Guernica_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Guernica_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Guernica_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Guernica_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Projected images from ‘Guernica,’ Picasso’s response to the 1937 bombing of Guernica, Spain by Nazi Germany and Fascist Italy. \u003ccite>(Courtesy Imagine Picasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her introductory remarks, Mauger said that while she would never animate a painting (no small amount of shade for \u003ci>Immersive van Gogh\u003c/i> here), “there is no gravity” in \u003ci>Imagine Picasso\u003c/i>. In addition to wild distortions in scale, a painting might be tilted askew, one aspect of it isolated from its surroundings and repeated across a variety of surfaces, becoming more of a motif than an aspect of a larger whole. \u003c/p>\n\u003cp>The show cycles through a series of short chapters, each no more than a few minutes in length. Nothing moves or “comes to life” in an outrageous way. The most dynamic effect is a kind of Ken Burns zoom and pan. The music is understated, sometimes even somber. (Though I remain adamant it is extremely awkward to turn \u003ci>\u003ca href=\"https://www.museoreinasofia.es/en/collection/artwork/guernica\" rel=\"noopener noreferrer\" target=\"_blank\">Guernica\u003c/a>\u003c/i> into a fragmented immersive display—leave this anti-fascist painting alone.)\u003c/p>\n\u003cp>Barring that, it’s … cool. Like truly, pretty cool. It even kind of makes sense for Picasso (because really, any graphic, colorful, interesting images would do well under this type of treatment). One might say it takes Cubism and makes it even more fractured, more futuristic.\u003c/p>\n\u003cp>The thing that most endeared me to \u003ci>Imagine Picasso\u003c/i> appeared on my way out: one long wall showing images of the over 200 paintings sourced for this display. Their titles, their dates and where they’re housed were all included. It felt like a small miracle.\u003c/p>\n\u003cfigure id=\"attachment_13909279\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/PaintingWall_1200.jpg\" alt=\"Small images of paintings against a black wall extending into distance\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13909279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/PaintingWall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/PaintingWall_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/PaintingWall_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/PaintingWall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/PaintingWall_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The wall documenting the source materials for ‘Imagine Picasso’s projections. \u003ccite>(Courtesy Imagine Picasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immersive shows so often seem to scoff at the idea of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">the original art\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\" rel=\"noopener noreferrer\" target=\"_blank\">lived experience of a certain time\u003c/a> or the joy of seeking out a specific pleasure (see: \u003ca href=\"https://sfist.com/2021/07/26/the-museum-of-ice-cream-is-dunzo/\" rel=\"noopener noreferrer\" target=\"_blank\">eating ice cream\u003c/a>). Like malls, we allow these presentations to put dull approximations of real things under one convenient roof. In \u003ci>Imagine Picasso\u003c/i>, I found at least a small thread back to the objects and the artist fueling its $40–$50 ticket sales.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Imagine Picasso’ is on view at the Armory (1800 Mission St., San Francisco) through March 27. \u003ca href=\"https://www.imagine-picasso.com/san-francisco/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 992,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705007200,
"excerpt": "The latest immersive show to land in San Francisco is surprisingly... cool?",
"headData": {
"twImgId": "",
"twTitle": "I Didn’t Hate the ‘Imagine Picasso’ Immersive Exhibition",
"socialTitle": "Review: SF’s ‘Immersive Picasso’ is Surprisingly Not Bad %%page%% %%sep%% KQED",
"ogTitle": "I Didn’t Hate the ‘Imagine Picasso’ Immersive Exhibition",
"ogImgId": "",
"twDescription": "",
"description": "The latest immersive show to land in San Francisco actually provides context and meaning to its art projections.",
"socialDescription": "The latest immersive show to land in San Francisco actually provides context and meaning to its art projections.",
"title": "Review: SF’s ‘Immersive Picasso’ is Surprisingly Not Bad | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "I Didn’t Hate the ‘Imagine Picasso’ Immersive Exhibition",
"datePublished": "2022-02-11T12:26:44-08:00",
"dateModified": "2024-01-11T13:06:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "review-imagine-picasso-immersive-san-francisco",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13909273/review-imagine-picasso-immersive-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It turns out not all immersive exhibitions are created equal.\u003c/p>\n\u003cp>I can’t believe I’m writing this, but I didn’t hate \u003ci>\u003ca href=\"https://www.imagine-picasso.com/san-francisco/#\" rel=\"noopener noreferrer\" target=\"_blank\">Imagine Picasso\u003c/a>\u003c/i>, San Francisco’s newest projected light display of paintings by a dead European man. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894558",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>You may have heard of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Immersive van Gogh\u003c/a>\u003c/i>, an “experience” at SVN West that courted us with cheesy “Gogh” puns and up-sold audiences on posters and cushions. In that presentation, van Gogh’s paintings came to life in bizarre and illogical ways. Édith Piaf sang the very French anthem \u003ci>Non, je ne regrette rien\u003c/i> while we looked at morphing images of the Dutch painter’s work. The whole thing was a vortex of animated brush strokes and painterly special effects that told you nothing about how the images were created, why van Gogh’s particular compositions carry such emotional weight or what the trajectory of his short, prolific career looked like. \u003c/p>\n\u003cp>\u003ci>Imagine Picasso\u003c/i> proves there’s an alternative to the funhouse model of immersive displays. Created by Annabelle Mauger and Julien Baron, the show is making its U.S. debut in San Francisco after stints in Lyon, Quebec and Vancouver. \u003ci>Imagine Picasso\u003c/i> occupies three “rooms” inside San Francisco’s Armory building (the former Kink.com headquarters) below the 80-foot ceilings of the former drill court.\u003c/p>\n\u003cp>The first room, a holding area before the official start of the show, is all sepia-toned photographs and red velvety couches—a version of Paris meant to introduce us to the kind of ambiance Pablo Picasso (“the most French Spanish artist,” according to one of the presenters) might have enjoyed in the first half of the 20th century. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To the right, a full gift shop, because of course.\u003c/p>\n\u003cfigure id=\"attachment_13909276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BioRoom_1200.jpg\" alt=\"Projected black and white images on standing screens\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13909276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BioRoom_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BioRoom_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BioRoom_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BioRoom_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BioRoom_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of ‘Imagine Picasso’ that provides an introduction to Pablo Picasso’s life and work. \u003ccite>(Courtesy Imagine Picasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the lounge, the presentation begins, surprisingly, with biography (previous “experiences” have set my bar so incredibly low). This room is lined on both sides with large text panels detailing Picasso’s life and the bodies of work he produced, with some glancing mentions of a “family crisis” and a “secret affair” that hint at his womanizing. Between the two walls of text: delicate scrims upon which black-and-white still and moving images of the artist are projected. \u003c/p>\n\u003cp>The effect here is quite lovely, if a bit chaotic. Light spilling through the transparent fabric falls at an angle against the floor. Images and sounds overlap. Dramatic quotes—Picasso is very quotable—about the importance of art and life and blood periodically flash in white text. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13861247",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Whether one chooses to read the (many) words on those panels is up to you. At least the creators of \u003ci>Imagine Picasso\u003c/i> give us the option of learning more. Immersive exhibition naysayers are often seen as snobs, privileging the individual artwork over the democratic and widely dispersed experience of many. But the flip side is no better: too many of these shows treat viewers as if they have no curiosity about the images they’re enjoying.\u003c/p>\n\u003cp>Which brings us to the main event. I was honestly unprepared for this. Did you know the Armory is the largest column-free enclosed space in San Francisco? The expanse is destabilizing. Compounding that, \u003ci>Imagine Picasso\u003c/i>’s projections spread across at least 20-foot-high walls, the wooden floor and numerous angular 3D shapes. The scene turns paintings into futuristic shards amid a precisely rendered digital wonderland.\u003c/p>\n\u003cfigure id=\"attachment_13909277\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Guernica_1200.jpg\" alt=\"Black and white images of suffering projected on walls and angular shapes\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13909277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Guernica_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Guernica_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Guernica_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Guernica_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Guernica_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Projected images from ‘Guernica,’ Picasso’s response to the 1937 bombing of Guernica, Spain by Nazi Germany and Fascist Italy. \u003ccite>(Courtesy Imagine Picasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her introductory remarks, Mauger said that while she would never animate a painting (no small amount of shade for \u003ci>Immersive van Gogh\u003c/i> here), “there is no gravity” in \u003ci>Imagine Picasso\u003c/i>. In addition to wild distortions in scale, a painting might be tilted askew, one aspect of it isolated from its surroundings and repeated across a variety of surfaces, becoming more of a motif than an aspect of a larger whole. \u003c/p>\n\u003cp>The show cycles through a series of short chapters, each no more than a few minutes in length. Nothing moves or “comes to life” in an outrageous way. The most dynamic effect is a kind of Ken Burns zoom and pan. The music is understated, sometimes even somber. (Though I remain adamant it is extremely awkward to turn \u003ci>\u003ca href=\"https://www.museoreinasofia.es/en/collection/artwork/guernica\" rel=\"noopener noreferrer\" target=\"_blank\">Guernica\u003c/a>\u003c/i> into a fragmented immersive display—leave this anti-fascist painting alone.)\u003c/p>\n\u003cp>Barring that, it’s … cool. Like truly, pretty cool. It even kind of makes sense for Picasso (because really, any graphic, colorful, interesting images would do well under this type of treatment). One might say it takes Cubism and makes it even more fractured, more futuristic.\u003c/p>\n\u003cp>The thing that most endeared me to \u003ci>Imagine Picasso\u003c/i> appeared on my way out: one long wall showing images of the over 200 paintings sourced for this display. Their titles, their dates and where they’re housed were all included. It felt like a small miracle.\u003c/p>\n\u003cfigure id=\"attachment_13909279\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/PaintingWall_1200.jpg\" alt=\"Small images of paintings against a black wall extending into distance\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13909279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/PaintingWall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/PaintingWall_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/PaintingWall_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/PaintingWall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/PaintingWall_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The wall documenting the source materials for ‘Imagine Picasso’s projections. \u003ccite>(Courtesy Imagine Picasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immersive shows so often seem to scoff at the idea of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">the original art\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\" rel=\"noopener noreferrer\" target=\"_blank\">lived experience of a certain time\u003c/a> or the joy of seeking out a specific pleasure (see: \u003ca href=\"https://sfist.com/2021/07/26/the-museum-of-ice-cream-is-dunzo/\" rel=\"noopener noreferrer\" target=\"_blank\">eating ice cream\u003c/a>). Like malls, we allow these presentations to put dull approximations of real things under one convenient roof. In \u003ci>Imagine Picasso\u003c/i>, I found at least a small thread back to the objects and the artist fueling its $40–$50 ticket sales.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Imagine Picasso’ is on view at the Armory (1800 Mission St., San Francisco) through March 27. \u003ca href=\"https://www.imagine-picasso.com/san-francisco/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13909273/review-imagine-picasso-immersive-san-francisco",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_10342",
"arts_10278",
"arts_3874",
"arts_769",
"arts_1146",
"arts_1935",
"arts_585",
"arts_901"
],
"featImg": "arts_13909278",
"label": "arts_140"
},
"arts_13909240": {
"type": "posts",
"id": "arts_13909240",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13909240",
"score": null,
"sort": [
1644601943000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1644601943,
"format": "standard",
"title": "Remembering Mac McGinnes, SF Art Collector and Raconteur",
"headTitle": "Remembering Mac McGinnes, SF Art Collector and Raconteur | KQED",
"content": "\u003cp>“Mac’s apartment was a universe,” said artist Léonie Guyer when I phoned her a few days after our friend Mac McGinnes’ death. The San Francisco art collector, writer and culture enthusiast died in hospice on Jan. 9, 2022. \u003c/p>\n\u003cp>I met Mac through the collection he built at his Turk Street home, when I borrowed his autoerotic Colter Jacobsen drawings \u003cem>second hand strokes 1 & 2\u003c/em> (2003) for the exhibition organized by my California College of the Arts curatorial practice class, \u003cem>\u003ca href=\"https://wattis.org/our-program/on-view/artwork-for-bedrooms-2018\" rel=\"noopener noreferrer\" target=\"_blank\">Artwork for Bedrooms\u003c/a>\u003c/em>, in 2018. \u003c/p>\n\u003cp>Looking back, the prevailing characteristics of that Wattis Institute show—fragile, poetic, often smaller works on found paper, wood or other matter—persisted in Mac’s collection. His bedroom walls were orange, his bathroom lime green, his kitchen yellow, and his living room a dark turquoise. Save for the self-portrait by Alex Katz centered on one of those turquoise walls, his collection covered these colorful backdrops salon-style. \u003c/p>\n\u003cfigure id=\"attachment_13909297\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_02_1200.jpg\" alt=\"Spacious room with bay windows, lots of art and books\" width=\"1200\" height=\"923\" class=\"size-full wp-image-13909297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/MAC_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/MAC_02_1200-800x615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/MAC_02_1200-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/MAC_02_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/MAC_02_1200-768x591.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Mac McGinnes’ apartment, with the Alex Katz painting at left. \u003ccite>(Courtesy Amy Trachtenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mac knew many of the makers, and arranged artists (via their art) in conversation with one another. A Joe Brainard collage was in his bathroom above the hand towel. A small paper littered with J.B. Murray’s illegible, mystical scrawl hung next to his bed. Chris Johanson’s scrappy, tongue-in-cheek renditions of urbanites and loud text works by Cliff Hengst lived on the main bedroom walls, with Guyer’s talismanic drawings positioned nearby as quiet observers. \u003c/p>\n\u003cp>His arrangements were like his dinner parties, and Jacobsen recalls the combinations of people as similarly intentional. They were, he says, “always lovely and exciting—sometimes old acquaintances and sometimes strangers … always warm and a lot of wine.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in 1939 in small-town Florida, Mac made his way to New York and Chicago to work gallery and theater production jobs before landing in San Francisco in the 1980s. It feels redundant to go further into the facts of his 82 years, as he made a point to speak and write about his personal history in two pieces for SFMOMA’s \u003cem>Open Space\u003c/em>: A \u003ca href=\"https://openspace.sfmoma.org/2021/04/distant-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">2018 interview\u003c/a> with curator and friend Constance Lewallen and \u003ca href=\"https://openspace.sfmoma.org/2021/04/distant-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">a short account\u003c/a> of his childhood on the WWII homefront.\u003c/p>\n\u003cfigure id=\"attachment_13909296\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Mac_03_1200.jpg\" alt=\"A young man and an older man look at each other at a restaurant table\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13909296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Mac_03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Mac_03_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Mac_03_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Mac_03_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Mac_03_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ajit Chauhan and Mac McGinnes. \u003ccite>(Courtesy Amy Trachtenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t to say Mac’s story isn’t remarkable. Working at Fischbach Gallery in New York the 1960s and 70s he inhabited avant garde poetry and art circles. He knew the now-lauded greats and had opinions about them, remarking how performances by Vito Acconci or Jack Smith, now considered the gods of the downtown scene, were “incorrigible” (said with an eye roll). Artist and friend Ajit Chauhan recalls Mac saying he was on the street when Trisha Brown performed \u003cem>\u003ca href=\"https://trishabrowncompany.org/repertory/man-walking-down-the-side-of-a-building.html\" rel=\"noopener noreferrer\" target=\"_blank\">Man Walking Down the Side of a Building\u003c/a>\u003c/em> in 1970. \u003c/p>\n\u003cp>A familiar face at art openings and poetry readings, and a producer for the Poets Theater, Mac loved how creative worlds intersected in San Francisco. But even as a high-culture polyglot, that wild, swampy Florida boyhood never left him. Vincent Katz, who Mac met through his parents Alex and Ada Katz, remembers Mac visiting his family when his father did a residency in West Virginia. Arriving in boots and army fatigues, Mac took Vincent to nearby stock car races. Artist Amy Trachtenberg, who met Mac working at Philippe Bonnafont Gallery in North Beach in the 1980s, says Mac became a fixture in her family’s home. He gave her sons frogs, which led to a fixation with cold-blooded creatures that has continued into their adulthood (one has a six-foot-long iguana). \u003c/p>\n\u003cfigure id=\"attachment_13909248\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928.jpg\" alt=\"An older man and a younger woman in a face mask pose for camera\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13909248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Mac McGinnes and the author, Maddie Klett. \u003ccite>(Courtesy Maddie Klett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I met Mac in my mid-20s, and I am not the only young person with whom he built an intergenerational friendship. Sophie Appel and Cole Solinger, who run the art space \u003ca href=\"https://www.instagram.com/delaplanesf/\" rel=\"noopener noreferrer\" target=\"_blank\">Delaplane\u003c/a> in the Mission, were close to Mac in recent years. All of us admired Mac’s come-as-you-are, no fuss presence, and his acutely observational way of moving through the world. Appel made a point to record him speaking. In one recording, he describes encountering a band of very old and very young men playing music who “were out of tune in the most wonderful way.” Solinger asked Mac about a sealed jar containing blue jay feathers, dice, and a scrap of paper with an esoteric note. He found it under a tree in Buena Vista Park in the 80s, never opened it, and considered it his most prized possession. \u003c/p>\n\u003cp>The jar, Solinger and I concurred in a recent call, feels like a microcosm of Mac’s apartment; it is its own swirling little world. The apartment was even more of a universe these last few years, as Mac recovered from a broken femur before quarantining during the pandemic. He watched a full opera every day. He embarked on building an aquarium for the sole purpose of tending to the plants (the fish only there to complete this aquascape). He told me was rereading books he hadn’t touched in 30 years. And he wrote. In his \u003ca href=\"https://openspace.sfmoma.org/2021/04/distant-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Open Space\u003c/em> essay\u003c/a>, Mac talks about the early days of lockdown—when most of us were struggling with the isolation and slowdown—with such peace. \u003c/p>\n\u003cp>His is a San Francisco life and story that encapsulates the heartbeat of the place. Not the tired boom-and-bust story, but of the possibilities of living at land’s end: where you can let your freak flag fly, or not. \u003c/p>\n\u003cp>Mac lived decisively. He donated the majority of his art to the Berkeley Art Museum and Pacific Film Archive. Despite his magpie impulse for collecting, during his last months in hospice he was adamant about visitors not bringing anything but themselves. “No possessions!” he said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mac crossed over, and now his presence is dispersed among those who knew him and throughout the streets he walked. Magic.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1028,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705007205,
"excerpt": "The writer and culture enthusiast was known to friends for his come-as-you-are, no fuss presence.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The writer and culture enthusiast was known to friends for his come-as-you-are, no fuss presence.",
"title": "Remembering Mac McGinnes, SF Art Collector and Raconteur | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Remembering Mac McGinnes, SF Art Collector and Raconteur",
"datePublished": "2022-02-11T09:52:23-08:00",
"dateModified": "2024-01-11T13:06:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "remembering-mac-mcginnes-sf-art-collector-and-raconteur",
"status": "publish",
"templateType": "standard",
"nprByline": "Maddie Klett",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13909240/remembering-mac-mcginnes-sf-art-collector-and-raconteur",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Mac’s apartment was a universe,” said artist Léonie Guyer when I phoned her a few days after our friend Mac McGinnes’ death. The San Francisco art collector, writer and culture enthusiast died in hospice on Jan. 9, 2022. \u003c/p>\n\u003cp>I met Mac through the collection he built at his Turk Street home, when I borrowed his autoerotic Colter Jacobsen drawings \u003cem>second hand strokes 1 & 2\u003c/em> (2003) for the exhibition organized by my California College of the Arts curatorial practice class, \u003cem>\u003ca href=\"https://wattis.org/our-program/on-view/artwork-for-bedrooms-2018\" rel=\"noopener noreferrer\" target=\"_blank\">Artwork for Bedrooms\u003c/a>\u003c/em>, in 2018. \u003c/p>\n\u003cp>Looking back, the prevailing characteristics of that Wattis Institute show—fragile, poetic, often smaller works on found paper, wood or other matter—persisted in Mac’s collection. His bedroom walls were orange, his bathroom lime green, his kitchen yellow, and his living room a dark turquoise. Save for the self-portrait by Alex Katz centered on one of those turquoise walls, his collection covered these colorful backdrops salon-style. \u003c/p>\n\u003cfigure id=\"attachment_13909297\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/MAC_02_1200.jpg\" alt=\"Spacious room with bay windows, lots of art and books\" width=\"1200\" height=\"923\" class=\"size-full wp-image-13909297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/MAC_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/MAC_02_1200-800x615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/MAC_02_1200-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/MAC_02_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/MAC_02_1200-768x591.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Mac McGinnes’ apartment, with the Alex Katz painting at left. \u003ccite>(Courtesy Amy Trachtenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mac knew many of the makers, and arranged artists (via their art) in conversation with one another. A Joe Brainard collage was in his bathroom above the hand towel. A small paper littered with J.B. Murray’s illegible, mystical scrawl hung next to his bed. Chris Johanson’s scrappy, tongue-in-cheek renditions of urbanites and loud text works by Cliff Hengst lived on the main bedroom walls, with Guyer’s talismanic drawings positioned nearby as quiet observers. \u003c/p>\n\u003cp>His arrangements were like his dinner parties, and Jacobsen recalls the combinations of people as similarly intentional. They were, he says, “always lovely and exciting—sometimes old acquaintances and sometimes strangers … always warm and a lot of wine.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in 1939 in small-town Florida, Mac made his way to New York and Chicago to work gallery and theater production jobs before landing in San Francisco in the 1980s. It feels redundant to go further into the facts of his 82 years, as he made a point to speak and write about his personal history in two pieces for SFMOMA’s \u003cem>Open Space\u003c/em>: A \u003ca href=\"https://openspace.sfmoma.org/2021/04/distant-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">2018 interview\u003c/a> with curator and friend Constance Lewallen and \u003ca href=\"https://openspace.sfmoma.org/2021/04/distant-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">a short account\u003c/a> of his childhood on the WWII homefront.\u003c/p>\n\u003cfigure id=\"attachment_13909296\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Mac_03_1200.jpg\" alt=\"A young man and an older man look at each other at a restaurant table\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13909296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Mac_03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Mac_03_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Mac_03_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Mac_03_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Mac_03_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ajit Chauhan and Mac McGinnes. \u003ccite>(Courtesy Amy Trachtenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t to say Mac’s story isn’t remarkable. Working at Fischbach Gallery in New York the 1960s and 70s he inhabited avant garde poetry and art circles. He knew the now-lauded greats and had opinions about them, remarking how performances by Vito Acconci or Jack Smith, now considered the gods of the downtown scene, were “incorrigible” (said with an eye roll). Artist and friend Ajit Chauhan recalls Mac saying he was on the street when Trisha Brown performed \u003cem>\u003ca href=\"https://trishabrowncompany.org/repertory/man-walking-down-the-side-of-a-building.html\" rel=\"noopener noreferrer\" target=\"_blank\">Man Walking Down the Side of a Building\u003c/a>\u003c/em> in 1970. \u003c/p>\n\u003cp>A familiar face at art openings and poetry readings, and a producer for the Poets Theater, Mac loved how creative worlds intersected in San Francisco. But even as a high-culture polyglot, that wild, swampy Florida boyhood never left him. Vincent Katz, who Mac met through his parents Alex and Ada Katz, remembers Mac visiting his family when his father did a residency in West Virginia. Arriving in boots and army fatigues, Mac took Vincent to nearby stock car races. Artist Amy Trachtenberg, who met Mac working at Philippe Bonnafont Gallery in North Beach in the 1980s, says Mac became a fixture in her family’s home. He gave her sons frogs, which led to a fixation with cold-blooded creatures that has continued into their adulthood (one has a six-foot-long iguana). \u003c/p>\n\u003cfigure id=\"attachment_13909248\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928.jpg\" alt=\"An older man and a younger woman in a face mask pose for camera\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13909248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Maddie-1-scaled-e1644540025928-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Mac McGinnes and the author, Maddie Klett. \u003ccite>(Courtesy Maddie Klett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I met Mac in my mid-20s, and I am not the only young person with whom he built an intergenerational friendship. Sophie Appel and Cole Solinger, who run the art space \u003ca href=\"https://www.instagram.com/delaplanesf/\" rel=\"noopener noreferrer\" target=\"_blank\">Delaplane\u003c/a> in the Mission, were close to Mac in recent years. All of us admired Mac’s come-as-you-are, no fuss presence, and his acutely observational way of moving through the world. Appel made a point to record him speaking. In one recording, he describes encountering a band of very old and very young men playing music who “were out of tune in the most wonderful way.” Solinger asked Mac about a sealed jar containing blue jay feathers, dice, and a scrap of paper with an esoteric note. He found it under a tree in Buena Vista Park in the 80s, never opened it, and considered it his most prized possession. \u003c/p>\n\u003cp>The jar, Solinger and I concurred in a recent call, feels like a microcosm of Mac’s apartment; it is its own swirling little world. The apartment was even more of a universe these last few years, as Mac recovered from a broken femur before quarantining during the pandemic. He watched a full opera every day. He embarked on building an aquarium for the sole purpose of tending to the plants (the fish only there to complete this aquascape). He told me was rereading books he hadn’t touched in 30 years. And he wrote. In his \u003ca href=\"https://openspace.sfmoma.org/2021/04/distant-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Open Space\u003c/em> essay\u003c/a>, Mac talks about the early days of lockdown—when most of us were struggling with the isolation and slowdown—with such peace. \u003c/p>\n\u003cp>His is a San Francisco life and story that encapsulates the heartbeat of the place. Not the tired boom-and-bust story, but of the possibilities of living at land’s end: where you can let your freak flag fly, or not. \u003c/p>\n\u003cp>Mac lived decisively. He donated the majority of his art to the Berkeley Art Museum and Pacific Film Archive. Despite his magpie impulse for collecting, during his last months in hospice he was adamant about visitors not bringing anything but themselves. “No possessions!” he said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mac crossed over, and now his presence is dispersed among those who knew him and throughout the streets he walked. Magic.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13909240/remembering-mac-mcginnes-sf-art-collector-and-raconteur",
"authors": [
"byline_arts_13909240"
],
"categories": [
"arts_1"
],
"tags": [
"arts_10278",
"arts_1091",
"arts_1146"
],
"featImg": "arts_13909291",
"label": "arts"
},
"arts_13909188": {
"type": "posts",
"id": "arts_13909188",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13909188",
"score": null,
"sort": [
1644537464000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1644537464,
"format": "standard",
"title": "It's a New Era for Audium, San Francisco's 'Theater of Sound'",
"headTitle": "It’s a New Era for Audium, San Francisco’s ‘Theater of Sound’ | KQED",
"content": "\u003cp>It’s a Wednesday night in San Francisco, and I’m sitting in pitch-black darkness. In one minute, I’m sailing on the sea, and the next minute I’m in an airplane with loose, squeaky wings. Eventually I’m floating through a glass factory. Then the lights come up, and I’m back in a futuristic-looking room on Bush Street, snapped out of my reverie. \u003c/p>\n\u003cp>Since its opening here in 1975, this room, \u003ca href=\"https://www.audium.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Audium\u003c/a>, has been one of San Francisco’s most adventurous first dates. Billing itself as a “theater of sound,” Audium hosts attendees in a circle and pipes experimental music, noises, and soundscapes out of the walls, floor and ceiling in total darkness. Call it surround-sound gone berserk.\u003c/p>\n\u003cp>Or, in the words of Audium’s director David Shaff: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium, seen from the control booth, is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For over 50 years (the venue’s first location opened in 1967), the sound composition at Audium was programmed solely by co-founder Stan Shaff. In 2018, his son David began sharing the control booth. Now, Audium’s first-ever residency program is providing the Bay Area’s deep listeners with new work by three young Bay Area artists: Victoria Shen, Alexa Burrell, and Noah Berrie.\u003c/p>\n\u003cp>And if the final rehearsal for \u003cem>\u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">New Voices\u003c/a>\u003c/em> is any indication, they’ve brought a fresh approach and truly imagined Audium as, in the words of Shaff, a “composable being” unto itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shen’s \u003cem>Terpsichore\u003c/em> is an homage to Audium, mixing her own analog background as a builder of modular synthesizers and \u003ca href=\"https://twitter.com/evicshen/status/1403368102742532096\" rel=\"noopener noreferrer\" target=\"_blank\">turntable manipulator\u003c/a> with the space’s new digital setup. \u003cem>A(void Fire)\u003c/em> by Alexa Burrell is an “Afro-surrealist techno-horror fairytale” influenced by surviving the 2016 Ghost Ship warehouse fire, and the 2017 wildfires that burned down her mother’s house. Noah Berrie’s \u003cem>Organ Music\u003c/em> draws on voice, skin textures and other “bodily things,” with a custom-built instrument to augment the soundscape.\u003c/p>\n\u003cp>None of the three had visited Audium before applying to the residency, but all show a deep respect for the venue. Burrell calls it a “deeply emotional and spiritual” experience to sit in darkness and “sink into listening and hearing.” \u003c/p>\n\u003cfigure id=\"attachment_13909227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Shaff sits at Audium’s master control. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff tells me that he was intentionally looking for artists who work outside of his father’s magnetic-tape, musique-concrète style; “people who can have a conversation with this place, and figure out what works and what doesn’t,’ he says. “That was the conversation that Dad was having for 50 years, but it was just one conversation.”\u003c/p>\n\u003cp>The elder Shaff, now 92 and still involved in a consulting capacity, made Audium a destination. Musicians like Pierre Henry and members of the Grateful Dead and the Sun Ra Arkestra would come to marinate within its walls. Engineers from Dolby, Disney and Meyer Sound also visited, drawing on its pioneering approach to inform their own digital sound advances.\u003c/p>\n\u003cp>During the pandemic, Audium itself used the downtime to switch over to digital. The sound is crisp and clean now out of each speaker, Shaff says, instead of being “smudged” into certain areas of the room.\u003c/p>\n\u003cp>And while there may be longtime Audium fans dismayed that the old Ampex reel-to-reel tape console now sits unused, and the old analog board with its knobs and switches is dismantled and perched on its side, the digital shift befits Audium’s spirit of exploration and newness. (It doesn’t seem to have changed Audium’s core mission, either. On a butcher-paper brainstorm for Audium’s future hanging on the office wall, under a section titled “Values,” I notice that someone’s written, “Money: OK, if there is intent. Art + Listening = #1.”) \u003c/p>\n\u003cfigure id=\"attachment_13909294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The old Ampex tape console at Audium. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff plans to make residencies with Bay Area artists an annual tradition—along with inviting others in for a month at a time, like Amy X Neuburg’s takeover of the space this coming July. But he’s keeping one foot firmly planted in its history, and the irreplaceable legacy of the family business.\u003c/p>\n\u003cp>Before the crew takes a pizza-and-beer break out on the sidewalk beneath Audium’s distinctive \u003ca href=\"https://www.pinterest.ch/pin/53198839328553529/\" rel=\"noopener noreferrer\" target=\"_blank\">wooden facade\u003c/a>, Shen says it best: “It’s one of the last cool, weird, old-school things in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘New Voices’ opens Thursday, Feb. 10 and runs through April 2 at Audium (1616 Bush St., San Francisco). \u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 838,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705007208,
"excerpt": "Audium's first-ever residency program brings new sound artists to the 55-year-old institution. ",
"headData": {
"twImgId": "",
"twTitle": "It's a New Era for Audium, San Francisco's 'Theater of Sound'",
"socialTitle": "Audium’s New Residency Program in San Francisco %%page%% %%sep%% KQED",
"ogTitle": "It's a New Era for Audium, San Francisco's 'Theater of Sound'",
"ogImgId": "",
"twDescription": "Audium's first-ever residency program brings new composers into the 55-year-old institution.",
"description": "Audium's first-ever residency program brings new sound artists to the 55-year-old institution. ",
"title": "Audium’s New Residency Program in San Francisco | KQED",
"ogDescription": "Audium's first-ever residency program brings new composers into the 55-year-old institution.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "It's a New Era for Audium, San Francisco's 'Theater of Sound'",
"datePublished": "2022-02-10T15:57:44-08:00",
"dateModified": "2024-01-11T13:06:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "audium-residency-san-francisco-sound",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13909188/audium-residency-san-francisco-sound",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a Wednesday night in San Francisco, and I’m sitting in pitch-black darkness. In one minute, I’m sailing on the sea, and the next minute I’m in an airplane with loose, squeaky wings. Eventually I’m floating through a glass factory. Then the lights come up, and I’m back in a futuristic-looking room on Bush Street, snapped out of my reverie. \u003c/p>\n\u003cp>Since its opening here in 1975, this room, \u003ca href=\"https://www.audium.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Audium\u003c/a>, has been one of San Francisco’s most adventurous first dates. Billing itself as a “theater of sound,” Audium hosts attendees in a circle and pipes experimental music, noises, and soundscapes out of the walls, floor and ceiling in total darkness. Call it surround-sound gone berserk.\u003c/p>\n\u003cp>Or, in the words of Audium’s director David Shaff: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium, seen from the control booth, is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For over 50 years (the venue’s first location opened in 1967), the sound composition at Audium was programmed solely by co-founder Stan Shaff. In 2018, his son David began sharing the control booth. Now, Audium’s first-ever residency program is providing the Bay Area’s deep listeners with new work by three young Bay Area artists: Victoria Shen, Alexa Burrell, and Noah Berrie.\u003c/p>\n\u003cp>And if the final rehearsal for \u003cem>\u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">New Voices\u003c/a>\u003c/em> is any indication, they’ve brought a fresh approach and truly imagined Audium as, in the words of Shaff, a “composable being” unto itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shen’s \u003cem>Terpsichore\u003c/em> is an homage to Audium, mixing her own analog background as a builder of modular synthesizers and \u003ca href=\"https://twitter.com/evicshen/status/1403368102742532096\" rel=\"noopener noreferrer\" target=\"_blank\">turntable manipulator\u003c/a> with the space’s new digital setup. \u003cem>A(void Fire)\u003c/em> by Alexa Burrell is an “Afro-surrealist techno-horror fairytale” influenced by surviving the 2016 Ghost Ship warehouse fire, and the 2017 wildfires that burned down her mother’s house. Noah Berrie’s \u003cem>Organ Music\u003c/em> draws on voice, skin textures and other “bodily things,” with a custom-built instrument to augment the soundscape.\u003c/p>\n\u003cp>None of the three had visited Audium before applying to the residency, but all show a deep respect for the venue. Burrell calls it a “deeply emotional and spiritual” experience to sit in darkness and “sink into listening and hearing.” \u003c/p>\n\u003cfigure id=\"attachment_13909227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Shaff sits at Audium’s master control. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff tells me that he was intentionally looking for artists who work outside of his father’s magnetic-tape, musique-concrète style; “people who can have a conversation with this place, and figure out what works and what doesn’t,’ he says. “That was the conversation that Dad was having for 50 years, but it was just one conversation.”\u003c/p>\n\u003cp>The elder Shaff, now 92 and still involved in a consulting capacity, made Audium a destination. Musicians like Pierre Henry and members of the Grateful Dead and the Sun Ra Arkestra would come to marinate within its walls. Engineers from Dolby, Disney and Meyer Sound also visited, drawing on its pioneering approach to inform their own digital sound advances.\u003c/p>\n\u003cp>During the pandemic, Audium itself used the downtime to switch over to digital. The sound is crisp and clean now out of each speaker, Shaff says, instead of being “smudged” into certain areas of the room.\u003c/p>\n\u003cp>And while there may be longtime Audium fans dismayed that the old Ampex reel-to-reel tape console now sits unused, and the old analog board with its knobs and switches is dismantled and perched on its side, the digital shift befits Audium’s spirit of exploration and newness. (It doesn’t seem to have changed Audium’s core mission, either. On a butcher-paper brainstorm for Audium’s future hanging on the office wall, under a section titled “Values,” I notice that someone’s written, “Money: OK, if there is intent. Art + Listening = #1.”) \u003c/p>\n\u003cfigure id=\"attachment_13909294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The old Ampex tape console at Audium. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff plans to make residencies with Bay Area artists an annual tradition—along with inviting others in for a month at a time, like Amy X Neuburg’s takeover of the space this coming July. But he’s keeping one foot firmly planted in its history, and the irreplaceable legacy of the family business.\u003c/p>\n\u003cp>Before the crew takes a pizza-and-beer break out on the sidewalk beneath Audium’s distinctive \u003ca href=\"https://www.pinterest.ch/pin/53198839328553529/\" rel=\"noopener noreferrer\" target=\"_blank\">wooden facade\u003c/a>, Shen says it best: “It’s one of the last cool, weird, old-school things in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘New Voices’ opens Thursday, Feb. 10 and runs through April 2 at Audium (1616 Bush St., San Francisco). \u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13909188/audium-residency-san-francisco-sound",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_16655",
"arts_16679",
"arts_1501",
"arts_3607",
"arts_10278",
"arts_1146",
"arts_16678",
"arts_585"
],
"featImg": "arts_13909230",
"label": "arts_140"
},
"arts_13909162": {
"type": "posts",
"id": "arts_13909162",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13909162",
"score": null,
"sort": [
1644438718000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1644438718,
"format": "standard",
"title": "SFMOMA’s Getting a New Director: Christopher Bedford",
"headTitle": "SFMOMA’s Getting a New Director: Christopher Bedford | KQED",
"content": "\u003cp>The San Francisco Museum of Modern Art \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-christopher-bedford-as-its-new-director-marking-reimagined-vision-for-the-museum-and-its-community/\" rel=\"noopener noreferrer\" target=\"_blank\">announced today\u003c/a> the appointment of Christopher Bedford as the museum’s new director. Bedford joins SFMOMA from the Baltimore Museum of Art, where he has been director since 2016.\u003c/p>\n\u003cp>[aside postID='arts_13892466']The news comes exactly a year after SFMOMA director \u003ca href=\"https://www.kqed.org/arts/13892466/sfmoma-director-neal-benezra-steps-down\" rel=\"noopener noreferrer\" target=\"_blank\">Neal Benezra announced\u003c/a> he would be stepping down from his role after nearly two decades in the position.\u003c/p>\n\u003cp>“Bedford has been selected to create change, realize SFMOMA’s values, further the museum’s ability to serve both its local Bay Area community and the international art world and lead the museum towards a successful, purposeful and equitable future,” the museum press release reads.\u003c/p>\n\u003cp>In an email to the \u003ci>New York Times\u003c/i>, SFMOMA board member Pamela J. Joyner directly addressed the optics of replacing a white male director with a white male director, especially after SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">much-publicized struggles\u003c/a> in the wake of the 2020 Black Lives Matter protests and the subsequent departures of five high-level museum employees, including senior curator \u003ca href=\"https://www.kqed.org/arts/13883305/sfmoma-senior-curator-gary-garrels-resigns-after-reverse-discrimination-comments\" rel=\"noopener noreferrer\" target=\"_blank\">Gary Garrels\u003c/a>.\u003c/p>\n\u003cp>“Though he is not a woman or a person of color, and I understand how that may be an unexpected outcome,” Joyner told the \u003ci>Times\u003c/i>, “I believe he will materially promote the visibility and best interest of those groups based on his past performance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today’s announcement cited Bedford’s involvement in projects like Mark Bradford’s presentation for the U.S. Pavilion at the Venice Biennale 2017 and a Mickalene Thomas commission by the Baltimore Museum of Art that transformed a museum lobby into “a living room for the city.” Before coming to Baltimore, Bedford was the director of the Rose Art Museum at Brandeis University. He has also held curatorial positions at the Wexner Center for the Arts at Ohio State University, the Los Angeles County Museum of Art and the J. Paul Getty Museum.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bedford will step into his new role (formally titled the “Helen and Charles Schwab Director”) at SFMOMA in June.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 347,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705007217,
"excerpt": "The new director comes to San Francisco from the Baltimore Museum of Art. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The new director comes to San Francisco from the Baltimore Museum of Art. ",
"title": "SFMOMA’s Getting a New Director: Christopher Bedford | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SFMOMA’s Getting a New Director: Christopher Bedford",
"datePublished": "2022-02-09T12:31:58-08:00",
"dateModified": "2024-01-11T13:06:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sfmoma-new-director-christopher-bedford",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13909162/sfmoma-new-director-christopher-bedford",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern Art \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-christopher-bedford-as-its-new-director-marking-reimagined-vision-for-the-museum-and-its-community/\" rel=\"noopener noreferrer\" target=\"_blank\">announced today\u003c/a> the appointment of Christopher Bedford as the museum’s new director. Bedford joins SFMOMA from the Baltimore Museum of Art, where he has been director since 2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13892466",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The news comes exactly a year after SFMOMA director \u003ca href=\"https://www.kqed.org/arts/13892466/sfmoma-director-neal-benezra-steps-down\" rel=\"noopener noreferrer\" target=\"_blank\">Neal Benezra announced\u003c/a> he would be stepping down from his role after nearly two decades in the position.\u003c/p>\n\u003cp>“Bedford has been selected to create change, realize SFMOMA’s values, further the museum’s ability to serve both its local Bay Area community and the international art world and lead the museum towards a successful, purposeful and equitable future,” the museum press release reads.\u003c/p>\n\u003cp>In an email to the \u003ci>New York Times\u003c/i>, SFMOMA board member Pamela J. Joyner directly addressed the optics of replacing a white male director with a white male director, especially after SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">much-publicized struggles\u003c/a> in the wake of the 2020 Black Lives Matter protests and the subsequent departures of five high-level museum employees, including senior curator \u003ca href=\"https://www.kqed.org/arts/13883305/sfmoma-senior-curator-gary-garrels-resigns-after-reverse-discrimination-comments\" rel=\"noopener noreferrer\" target=\"_blank\">Gary Garrels\u003c/a>.\u003c/p>\n\u003cp>“Though he is not a woman or a person of color, and I understand how that may be an unexpected outcome,” Joyner told the \u003ci>Times\u003c/i>, “I believe he will materially promote the visibility and best interest of those groups based on his past performance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s announcement cited Bedford’s involvement in projects like Mark Bradford’s presentation for the U.S. Pavilion at the Venice Biennale 2017 and a Mickalene Thomas commission by the Baltimore Museum of Art that transformed a museum lobby into “a living room for the city.” Before coming to Baltimore, Bedford was the director of the Rose Art Museum at Brandeis University. He has also held curatorial positions at the Wexner Center for the Arts at Ohio State University, the Los Angeles County Museum of Art and the J. Paul Getty Museum.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bedford will step into his new role (formally titled the “Helen and Charles Schwab Director”) at SFMOMA in June.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13909162/sfmoma-new-director-christopher-bedford",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_235",
"arts_70"
],
"tags": [
"arts_3156",
"arts_3648",
"arts_5441",
"arts_1146",
"arts_1381"
],
"featImg": "arts_13909164",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"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.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"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.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=san-francisco": {
"isFetching": false,
"latestQuery": {
"from": 456,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 586,
"relation": "eq"
},
"items": [
"arts_13912001",
"arts_13911741",
"arts_13911589",
"arts_13911528",
"arts_13911243",
"arts_13911226",
"arts_13910664",
"arts_13910221",
"arts_13909273",
"arts_13909240",
"arts_13909188",
"arts_13909162"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_san-francisco": {
"isLoading": true
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"source_arts_13912001": {
"type": "terms",
"id": "source_arts_13912001",
"meta": {
"override": true
},
"name": "Food",
"link": "/food/",
"isLoading": false
},
"source_arts_13911528": {
"type": "terms",
"id": "source_arts_13911528",
"meta": {
"override": true
},
"name": "Food",
"link": "/food/",
"isLoading": false
},
"source_arts_13910664": {
"type": "terms",
"id": "source_arts_13910664",
"meta": {
"override": true
},
"name": "Food",
"link": "/food/",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_12276": {
"type": "terms",
"id": "arts_12276",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12276",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Food",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Explore the Bay Area culinary scene through KQED's food stories, recipes, dining experiences, and stories from the diverse tastemakers that define the Bay's cuisines.",
"title": "Bay Area Food Archives, Articles, News, and Reviews | KQED",
"ogDescription": null
},
"ttid": 12288,
"slug": "food",
"isLoading": false,
"link": "/arts/category/food"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_2855": {
"type": "terms",
"id": "arts_2855",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2855",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Filipino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Filipino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2867,
"slug": "filipino",
"isLoading": false,
"link": "/arts/tag/filipino"
},
"arts_14183": {
"type": "terms",
"id": "arts_14183",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "14183",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Filipino food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Filipino food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 14195,
"slug": "filipino-food",
"isLoading": false,
"link": "/arts/tag/filipino-food"
},
"arts_1297": {
"type": "terms",
"id": "arts_1297",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1297",
"found": true
},
"relationships": {},
"featImg": null,
"name": "food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1309,
"slug": "food",
"isLoading": false,
"link": "/arts/tag/food"
},
"arts_4903": {
"type": "terms",
"id": "arts_4903",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4903",
"found": true
},
"relationships": {},
"featImg": null,
"name": "soma",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "soma Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4915,
"slug": "soma",
"isLoading": false,
"link": "/arts/tag/soma"
},
"arts_8836": {
"type": "terms",
"id": "arts_8836",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8836",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SOMA Pilipinas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SOMA Pilipinas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8848,
"slug": "soma-pilipinas",
"isLoading": false,
"link": "/arts/tag/soma-pilipinas"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_16240": {
"type": "terms",
"id": "arts_16240",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16240",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ube",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ube Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16252,
"slug": "ube",
"isLoading": false,
"link": "/arts/tag/ube"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_10422": {
"type": "terms",
"id": "arts_10422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10434,
"slug": "featured-news",
"isLoading": false,
"link": "/arts/tag/featured-news"
},
"arts_2640": {
"type": "terms",
"id": "arts_2640",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2640",
"found": true
},
"relationships": {},
"featImg": null,
"name": "history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "history Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2652,
"slug": "history",
"isLoading": false,
"link": "/arts/tag/history"
},
"arts_17162": {
"type": "terms",
"id": "arts_17162",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "17162",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Illegal Soapbox Society",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Illegal Soapbox Society Archives | KQED Arts",
"ogDescription": null
},
"ttid": 17174,
"slug": "illegal-soapbox-society",
"isLoading": false,
"link": "/arts/tag/illegal-soapbox-society"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_4814": {
"type": "terms",
"id": "arts_4814",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4814",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pendarvis harshaw",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pendarvis harshaw Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4826,
"slug": "pendarvis-harshaw",
"isLoading": false,
"link": "/arts/tag/pendarvis-harshaw"
},
"arts_1381": {
"type": "terms",
"id": "arts_1381",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1381",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SFMOMA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SFMOMA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1393,
"slug": "sfmoma",
"isLoading": false,
"link": "/arts/tag/sfmoma"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_13238": {
"type": "terms",
"id": "arts_13238",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13238",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13250,
"slug": "sports",
"isLoading": false,
"link": "/arts/category/sports"
},
"arts_9075": {
"type": "terms",
"id": "arts_9075",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9075",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pops",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pops Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9087,
"slug": "pops",
"isLoading": false,
"link": "/arts/tag/pops"
},
"arts_914": {
"type": "terms",
"id": "arts_914",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "914",
"found": true
},
"relationships": {},
"featImg": null,
"name": "zines",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "zines Archives | KQED Arts",
"ogDescription": null
},
"ttid": 932,
"slug": "zines",
"isLoading": false,
"link": "/arts/tag/zines"
},
"arts_1626": {
"type": "terms",
"id": "arts_1626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Grace Cathedral",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Grace Cathedral Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1638,
"slug": "grace-cathedral",
"isLoading": false,
"link": "/arts/tag/grace-cathedral"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_12237": {
"type": "terms",
"id": "arts_12237",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12237",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tourism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tourism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12249,
"slug": "tourism",
"isLoading": false,
"link": "/arts/tag/tourism"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_2683": {
"type": "terms",
"id": "arts_2683",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2683",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Howard Wiley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Howard Wiley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2695,
"slug": "howard-wiley",
"isLoading": false,
"link": "/arts/tag/howard-wiley"
},
"arts_1420": {
"type": "terms",
"id": "arts_1420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1432,
"slug": "jazz",
"isLoading": false,
"link": "/arts/tag/jazz"
},
"arts_3584": {
"type": "terms",
"id": "arts_3584",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3584",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Marcus Shelby",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Marcus Shelby Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3596,
"slug": "marcus-shelby",
"isLoading": false,
"link": "/arts/tag/marcus-shelby"
},
"arts_1526": {
"type": "terms",
"id": "arts_1526",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1526",
"found": true
},
"relationships": {},
"featImg": null,
"name": "prison",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "prison Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1538,
"slug": "prison",
"isLoading": false,
"link": "/arts/tag/prison"
},
"arts_2265": {
"type": "terms",
"id": "arts_2265",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2265",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Stanford Live",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Stanford Live Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2277,
"slug": "stanford-live",
"isLoading": false,
"link": "/arts/tag/stanford-live"
},
"arts_1040": {
"type": "terms",
"id": "arts_1040",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1040",
"found": true
},
"relationships": {},
"featImg": null,
"name": "YBCA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "YBCA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1057,
"slug": "ybca",
"isLoading": false,
"link": "/arts/tag/ybca"
},
"arts_1955": {
"type": "terms",
"id": "arts_1955",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1955",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Yerba Buena Center for the Arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Yerba Buena Center for the Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1967,
"slug": "yerba-buena-center-for-the-arts",
"isLoading": false,
"link": "/arts/tag/yerba-buena-center-for-the-arts"
},
"arts_14089": {
"type": "terms",
"id": "arts_14089",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "14089",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop-up",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop-up Archives | KQED Arts",
"ogDescription": null
},
"ttid": 14101,
"slug": "pop-up",
"isLoading": false,
"link": "/arts/tag/pop-up"
},
"arts_15151": {
"type": "terms",
"id": "arts_15151",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15151",
"found": true
},
"relationships": {},
"featImg": null,
"name": "taiwanese food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "taiwanese food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15163,
"slug": "taiwanese-food",
"isLoading": false,
"link": "/arts/tag/taiwanese-food"
},
"arts_4018": {
"type": "terms",
"id": "arts_4018",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4018",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bayview",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bayview Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4030,
"slug": "bayview",
"isLoading": false,
"link": "/arts/tag/bayview"
},
"arts_21930": {
"type": "terms",
"id": "arts_21930",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21930",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Family Not a Group",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Family Not a Group Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21942,
"slug": "family-not-a-group",
"isLoading": false,
"link": "/arts/tag/family-not-a-group"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_11028": {
"type": "terms",
"id": "arts_11028",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11028",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jada Imani",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jada Imani Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11040,
"slug": "jada-imani",
"isLoading": false,
"link": "/arts/tag/jada-imani"
},
"arts_16875": {
"type": "terms",
"id": "arts_16875",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16875",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mike Evans Jr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mike Evans Jr Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16887,
"slug": "mike-evans-jr",
"isLoading": false,
"link": "/arts/tag/mike-evans-jr"
},
"arts_16880": {
"type": "terms",
"id": "arts_16880",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16880",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Professa Gabel",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Professa Gabel Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16892,
"slug": "professa-gabel",
"isLoading": false,
"link": "/arts/tag/professa-gabel"
},
"arts_924": {
"type": "terms",
"id": "arts_924",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "924",
"found": true
},
"relationships": {},
"featImg": null,
"name": "R&B",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "R&B Archives | KQED Arts",
"ogDescription": null
},
"ttid": 942,
"slug": "rb",
"isLoading": false,
"link": "/arts/tag/rb"
},
"arts_3874": {
"type": "terms",
"id": "arts_3874",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3874",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Kink.com",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Kink.com Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3886,
"slug": "kink-com",
"isLoading": false,
"link": "/arts/tag/kink-com"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_1935": {
"type": "terms",
"id": "arts_1935",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1935",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tech",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tech Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1947,
"slug": "tech",
"isLoading": false,
"link": "/arts/tag/tech"
},
"arts_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"arts_16655": {
"type": "terms",
"id": "arts_16655",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16655",
"found": true
},
"relationships": {},
"featImg": null,
"name": "audium",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "audium Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16667,
"slug": "audium",
"isLoading": false,
"link": "/arts/tag/audium"
},
"arts_16679": {
"type": "terms",
"id": "arts_16679",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16679",
"found": true
},
"relationships": {},
"featImg": null,
"name": "david shaff",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "david shaff Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16691,
"slug": "david-shaff",
"isLoading": false,
"link": "/arts/tag/david-shaff"
},
"arts_1501": {
"type": "terms",
"id": "arts_1501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "electronic music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "electronic music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1513,
"slug": "electronic-music",
"isLoading": false,
"link": "/arts/tag/electronic-music"
},
"arts_3607": {
"type": "terms",
"id": "arts_3607",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3607",
"found": true
},
"relationships": {},
"featImg": null,
"name": "experimental music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "experimental music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3619,
"slug": "experimental-music",
"isLoading": false,
"link": "/arts/tag/experimental-music"
},
"arts_16678": {
"type": "terms",
"id": "arts_16678",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16678",
"found": true
},
"relationships": {},
"featImg": null,
"name": "stan shaff",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "stan shaff Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16690,
"slug": "stan-shaff",
"isLoading": false,
"link": "/arts/tag/stan-shaff"
},
"arts_3156": {
"type": "terms",
"id": "arts_3156",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3156",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Black Lives Matter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Black Lives Matter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3168,
"slug": "black-lives-matter",
"isLoading": false,
"link": "/arts/tag/black-lives-matter"
},
"arts_3648": {
"type": "terms",
"id": "arts_3648",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3648",
"found": true
},
"relationships": {},
"featImg": null,
"name": "museums",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "museums Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3660,
"slug": "museums",
"isLoading": false,
"link": "/arts/tag/museums"
},
"arts_5441": {
"type": "terms",
"id": "arts_5441",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5441",
"found": true
},
"relationships": {},
"featImg": null,
"name": "neal benezra",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "neal benezra Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5453,
"slug": "neal-benezra",
"isLoading": false,
"link": "/arts/tag/neal-benezra"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
