Adesh Thapliyal is KQED Arts' Editorial Intern. Previously, he wrote for the experimental newsletter Tone Glow and the pop music blog The Singles Jukebox.
By Adesh Thapliyal
Abi Balingit's Dessert Cookbook Is a Love Letter to the Bay Area's Filipino Bakeries
How Filipinos in the Mission Recorded the First Asian American Rock Album
Thailand's Famous Gay Pink Milk Comes to Oakland
Anula’s Cafe, Downtown Oakland’s Home Away From Home, Closes After 13 Years
What Is Diaspora Cooking? Soleil Ho and Diep Tran Might Know the Answer.
Questlove is Coming to the Castro Theatre for a 'Summer of Soul' Screening
PHOTOS: An Electric Return for Outside Lands with Tyler, the Creator and More
One Year After MF DOOM’s Death, Bay Area Artists Honor the Legend
How Vietnamese Americans Made San Jose America’s Tofu Capital
A Free Noise Pop Block Party Brings Street Food and Soul
How Yolanda López Changed Chicanx Art Forever
Hawak Screams Through Asian American Alienation in 'realign'
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"title": "Abi Balingit's Dessert Cookbook Is a Love Letter to the Bay Area's Filipino Bakeries",
"headTitle": "Abi Balingit’s Dessert Cookbook Is a Love Letter to the Bay Area’s Filipino Bakeries | KQED",
"content": "\u003cp>Growing up, I assumed fruit custard was a uniquely Indian food, no different than khichdi or palak paneer. Chilled fruit custard, sweetened with apples, bananas and grapes, made frequent appearances at my mother’s dinner parties, indistinguishable from other milky Indian desserts like kheer or shrikhand. I never saw anything similar to it in American restaurants or at my white friends’ houses: How could I guess it was anything other than Indian?\u003c/p>\n\u003cp>“Oh my god, I thought the same thing about fruit salad and Filipinos,” confesses \u003ca href=\"https://theduskykitchen.com/\">blogger\u003c/a>, baker and recipe developer extraordinaire Abi Balingit. We are chatting about her new memoir-cum-cookbook \u003ca href=\"https://www.indiebound.org/book/9780063244061\">\u003ci>Mayumu\u003c/i>: \u003ci>Filipino American Desserts Remixed\u003c/i>\u003c/a>\u003ci>,\u003c/i> which documents the sweets she ate and made growing up in the Bay Area’s thriving Filipino communities.\u003c/p>\n\u003cp>“Our fruit salad has canned fruit, too, but we add more Filipino stuff like coconut jellies and sugar palm fruit, so I always thought it was 100 percent Filipino,” Balingit says. “Another product of colonialism and imperialism for sure.”\u003c/p>\n\u003cp>Our respective fruit salads and custards reflect a bizarre quirk of history, where the legacy of colonization and globalization has influenced our food to the point where the term “fusion” doesn’t really mean much. Asian cooking has \u003ci>been \u003c/i>fused with Western culture. So why not make, say, a baked Alaska with ube ice cream — the tantalizing dessert displayed on the cover of \u003ci>Mayumu\u003c/i>? Or a jello salad buko pandan?\u003c/p>\n\u003cfigure id=\"attachment_13926636\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926636\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Mayumu-cover.jpg\" alt='Cover of a cookbook with a photo of a slice of baked Alaska with ube ice cream on the inside. Text reads, \"Mayumu, Filipino American Desserts Remixed.\"' width=\"1920\" height=\"2469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-800x1029.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-1020x1312.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-768x988.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-1194x1536.jpg 1194w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-1593x2048.jpg 1593w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cookbook was published by HarperCollins in February 2023. \u003ccite>(Courtesy of HarperCollins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Obviously, growing up in America, the desserts are cupcakes, cakes and cookies — and these are things in the Philippines, too,” says Balingit. “I went to Seafood City or the small Filipino market and saw coco pie and ube pie, but at the same time I went to Safeway or Albertson’s and saw, like, Hostess and Little Debbie’s. There was nothing weird about it to me, there was no sense of foreignness or discomfort.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Balingit, \u003ci>Mayumu\u003c/i> isn’t just a cookbook. It is a snapshot of growing up Filipino American in California. While the book exhaustively covers how to make every Filipino dessert one is likely to find behind the glass case at a Union City bakery — from bibingka to pandesal to kutsinta – Balingit adds little elements drawn from the porous, pan-Asian culture of the Bay. Her bibingka, for example, is topped with melted White Rabbit candies, which she fondly remembers coveting at 99 Ranch, while her pastillas, a chewy candy made from condensed milk, are flavored with matcha powder, that boba-shop staple.\u003c/p>\n\u003cp>The book is split into five parts, each named after towns Balingit resided in and accompanied by short reflections about what each location meant to her. Balingit was born in San Jose, moved to Stockton when she was six years old, went to UC Berkeley for college and finally flew off to New York City for work. The sequencing of the recipes tracks Balingit’s development as a baker: Early parts of the book cover Filipino classics like puto and biko, done relatively simply, while later parts show off her matured virtuosity and broader cultural horizons — leche flan infused with chai, cookies flavored with karekare or adobo.\u003c/p>\n\u003cfigure id=\"attachment_13926637\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926637\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Abi-Balingit-author-photo.jpg\" alt=\"Portrait of cookbook author Abi Balingit, who wears a colorful apron that matches her pink and green hair.\" width=\"1920\" height=\"2238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-800x933.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-1020x1189.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-768x895.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-1318x1536.jpg 1318w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-1757x2048.jpg 1757w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Balingit spent her formative years in San Jose and Stockton.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not always a forward arc. Sometimes, Balingit doubles back. She puts her basic pandesal recipe in the fourth chapter, set in Brooklyn. After leaving the Bay’s plentiful Filipino bakeries behind, she had little choice but to make the bread on her own.\u003c/p>\n\u003cp>“Bakeries are so essential for daily life,” says Balingit, wistfully. “Growing up, I don’t think my parents made pandesal ever; I would be surprised if anyone in San Jose or Stockton did. The bakeries do such a good job already.”\u003c/p>\n\u003cp>\u003ci>Mayumu \u003c/i>is littered with references to Bay Area Filipino bakeries — the famous chains \u003ca href=\"https://www.goldilocks-usa.com/\">Goldilocks\u003c/a> and \u003ca href=\"https://valeriostropicalbakeshop.com/\">Valerio’s\u003c/a> in particular get big shoutouts — that innovated with items like monggo-swirled brioche loaves and ube tres leches cakes. And the Fil-Am urge for baked goods and candy doesn’t just stop at strictly Filipino joints. Balingit also pays tribute to Costco madeleines and poppy seed muffins, gas station Twinkies and even Midwestern Buckeye candies, introduced to a young Balingit by a friend studying at Ohio State University. All done, of course, with a Filipino twist: The madeleines are lychee flavored, the Twinkies use Filipino mamon instead of sponge cake, the Buckeyes swap out fudge for yema (a Filipino egg custard).\u003c/p>\n\u003cfigure id=\"attachment_13926638\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit.jpg\" alt=\"A bowl of madeleines topped with dried rose petals and a purple-pink hibiscus glaze.\" width=\"1920\" height=\"2347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-800x978.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-1020x1247.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-768x939.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-1257x1536.jpg 1257w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-1675x2048.jpg 1675w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Balingit’s madeleines are flavored with lychee and have a hibiscus tea glaze. \u003ccite>(Nico Schinco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the legacy of generations of Asian American pastry chefs working in places like Valerio’s, very few have had the opportunity to write at length about their work. Balingit and I ended our conversation trying to come up with previous books in this niche, but we couldn’t think of any. Hours of additional Googling on my part only turned up a scant few: Aileen Chung Belshe’s hard-to-find \u003ci>Hawaiian Sweets, Treats And Eats\u003c/i>, Pichet Ong’s \u003ci>Sweet Spot\u003c/i> and Kristina Cho’s recently released \u003ci>Mooncakes and Milk Bread\u003c/i>.\u003c/p>\n\u003cp>[aside postID='arts_13919707,arts_13924997,arts_13896138']“It wasn’t smooth sailing trying to get this book sold to a publisher,” Balingit admits. “99 percent of publishers said no because it was so niche — not just a Filipino American cookbook, but a dessert cookbook as well. It shouldn’t be like that. Nobody would bat an eye if this was an Italian American dessert book.”\u003c/p>\n\u003cp>Luckily, Balingit connected with a Korean American editor at Harvest, an imprint of HarperCollins, who took a chance on her work.\u003c/p>\n\u003cp>“It sucks, but that’s the beauty of all these new diaspora cookbooks coming out,” says Balingit. “Hopefully we’re breaking the mold a bit and making it easier for people to justify why their foods matter.”\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>\u003ci>To promote \u003c/i>\u003ca href=\"https://www.indiebound.org/book/9780063244061\">Mayumu\u003c/a>\u003ci>, Balingit is hosting meet-and-greets at Omnivore Books (3885 Cesar Chavez St., San Francisco) on \u003c/i>\u003ca href=\"https://www.instagram.com/p/Cpxqxe6u0fc/\">\u003ci>Sat., March 25\u003c/i>\u003c/a>\u003ci> and the San Francisco Public Library’s Excelsior branch (4400 Mission St., San Francisco) on \u003c/i>\u003ca href=\"https://sfpl.org/events/2023/03/26/author-abi-balingit-mayumu\">\u003ci>Sunday, March 26\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up, I assumed fruit custard was a uniquely Indian food, no different than khichdi or palak paneer. Chilled fruit custard, sweetened with apples, bananas and grapes, made frequent appearances at my mother’s dinner parties, indistinguishable from other milky Indian desserts like kheer or shrikhand. I never saw anything similar to it in American restaurants or at my white friends’ houses: How could I guess it was anything other than Indian?\u003c/p>\n\u003cp>“Oh my god, I thought the same thing about fruit salad and Filipinos,” confesses \u003ca href=\"https://theduskykitchen.com/\">blogger\u003c/a>, baker and recipe developer extraordinaire Abi Balingit. We are chatting about her new memoir-cum-cookbook \u003ca href=\"https://www.indiebound.org/book/9780063244061\">\u003ci>Mayumu\u003c/i>: \u003ci>Filipino American Desserts Remixed\u003c/i>\u003c/a>\u003ci>,\u003c/i> which documents the sweets she ate and made growing up in the Bay Area’s thriving Filipino communities.\u003c/p>\n\u003cp>“Our fruit salad has canned fruit, too, but we add more Filipino stuff like coconut jellies and sugar palm fruit, so I always thought it was 100 percent Filipino,” Balingit says. “Another product of colonialism and imperialism for sure.”\u003c/p>\n\u003cp>Our respective fruit salads and custards reflect a bizarre quirk of history, where the legacy of colonization and globalization has influenced our food to the point where the term “fusion” doesn’t really mean much. Asian cooking has \u003ci>been \u003c/i>fused with Western culture. So why not make, say, a baked Alaska with ube ice cream — the tantalizing dessert displayed on the cover of \u003ci>Mayumu\u003c/i>? Or a jello salad buko pandan?\u003c/p>\n\u003cfigure id=\"attachment_13926636\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926636\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Mayumu-cover.jpg\" alt='Cover of a cookbook with a photo of a slice of baked Alaska with ube ice cream on the inside. Text reads, \"Mayumu, Filipino American Desserts Remixed.\"' width=\"1920\" height=\"2469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-800x1029.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-1020x1312.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-768x988.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-1194x1536.jpg 1194w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mayumu-cover-1593x2048.jpg 1593w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cookbook was published by HarperCollins in February 2023. \u003ccite>(Courtesy of HarperCollins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Obviously, growing up in America, the desserts are cupcakes, cakes and cookies — and these are things in the Philippines, too,” says Balingit. “I went to Seafood City or the small Filipino market and saw coco pie and ube pie, but at the same time I went to Safeway or Albertson’s and saw, like, Hostess and Little Debbie’s. There was nothing weird about it to me, there was no sense of foreignness or discomfort.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Balingit, \u003ci>Mayumu\u003c/i> isn’t just a cookbook. It is a snapshot of growing up Filipino American in California. While the book exhaustively covers how to make every Filipino dessert one is likely to find behind the glass case at a Union City bakery — from bibingka to pandesal to kutsinta – Balingit adds little elements drawn from the porous, pan-Asian culture of the Bay. Her bibingka, for example, is topped with melted White Rabbit candies, which she fondly remembers coveting at 99 Ranch, while her pastillas, a chewy candy made from condensed milk, are flavored with matcha powder, that boba-shop staple.\u003c/p>\n\u003cp>The book is split into five parts, each named after towns Balingit resided in and accompanied by short reflections about what each location meant to her. Balingit was born in San Jose, moved to Stockton when she was six years old, went to UC Berkeley for college and finally flew off to New York City for work. The sequencing of the recipes tracks Balingit’s development as a baker: Early parts of the book cover Filipino classics like puto and biko, done relatively simply, while later parts show off her matured virtuosity and broader cultural horizons — leche flan infused with chai, cookies flavored with karekare or adobo.\u003c/p>\n\u003cfigure id=\"attachment_13926637\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926637\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Abi-Balingit-author-photo.jpg\" alt=\"Portrait of cookbook author Abi Balingit, who wears a colorful apron that matches her pink and green hair.\" width=\"1920\" height=\"2238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-800x933.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-1020x1189.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-768x895.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-1318x1536.jpg 1318w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Abi-Balingit-author-photo-1757x2048.jpg 1757w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Balingit spent her formative years in San Jose and Stockton.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not always a forward arc. Sometimes, Balingit doubles back. She puts her basic pandesal recipe in the fourth chapter, set in Brooklyn. After leaving the Bay’s plentiful Filipino bakeries behind, she had little choice but to make the bread on her own.\u003c/p>\n\u003cp>“Bakeries are so essential for daily life,” says Balingit, wistfully. “Growing up, I don’t think my parents made pandesal ever; I would be surprised if anyone in San Jose or Stockton did. The bakeries do such a good job already.”\u003c/p>\n\u003cp>\u003ci>Mayumu \u003c/i>is littered with references to Bay Area Filipino bakeries — the famous chains \u003ca href=\"https://www.goldilocks-usa.com/\">Goldilocks\u003c/a> and \u003ca href=\"https://valeriostropicalbakeshop.com/\">Valerio’s\u003c/a> in particular get big shoutouts — that innovated with items like monggo-swirled brioche loaves and ube tres leches cakes. And the Fil-Am urge for baked goods and candy doesn’t just stop at strictly Filipino joints. Balingit also pays tribute to Costco madeleines and poppy seed muffins, gas station Twinkies and even Midwestern Buckeye candies, introduced to a young Balingit by a friend studying at Ohio State University. All done, of course, with a Filipino twist: The madeleines are lychee flavored, the Twinkies use Filipino mamon instead of sponge cake, the Buckeyes swap out fudge for yema (a Filipino egg custard).\u003c/p>\n\u003cfigure id=\"attachment_13926638\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit.jpg\" alt=\"A bowl of madeleines topped with dried rose petals and a purple-pink hibiscus glaze.\" width=\"1920\" height=\"2347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-800x978.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-1020x1247.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-768x939.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-1257x1536.jpg 1257w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Lychee-Madeleines-with-Hibiscus-Tea-Glaze-Dried-Rose-Petals-c-Nico-Schinco_edit-1675x2048.jpg 1675w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Balingit’s madeleines are flavored with lychee and have a hibiscus tea glaze. \u003ccite>(Nico Schinco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the legacy of generations of Asian American pastry chefs working in places like Valerio’s, very few have had the opportunity to write at length about their work. Balingit and I ended our conversation trying to come up with previous books in this niche, but we couldn’t think of any. Hours of additional Googling on my part only turned up a scant few: Aileen Chung Belshe’s hard-to-find \u003ci>Hawaiian Sweets, Treats And Eats\u003c/i>, Pichet Ong’s \u003ci>Sweet Spot\u003c/i> and Kristina Cho’s recently released \u003ci>Mooncakes and Milk Bread\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It wasn’t smooth sailing trying to get this book sold to a publisher,” Balingit admits. “99 percent of publishers said no because it was so niche — not just a Filipino American cookbook, but a dessert cookbook as well. It shouldn’t be like that. Nobody would bat an eye if this was an Italian American dessert book.”\u003c/p>\n\u003cp>Luckily, Balingit connected with a Korean American editor at Harvest, an imprint of HarperCollins, who took a chance on her work.\u003c/p>\n\u003cp>“It sucks, but that’s the beauty of all these new diaspora cookbooks coming out,” says Balingit. “Hopefully we’re breaking the mold a bit and making it easier for people to justify why their foods matter.”\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>\u003ci>To promote \u003c/i>\u003ca href=\"https://www.indiebound.org/book/9780063244061\">Mayumu\u003c/a>\u003ci>, Balingit is hosting meet-and-greets at Omnivore Books (3885 Cesar Chavez St., San Francisco) on \u003c/i>\u003ca href=\"https://www.instagram.com/p/Cpxqxe6u0fc/\">\u003ci>Sat., March 25\u003c/i>\u003c/a>\u003ci> and the San Francisco Public Library’s Excelsior branch (4400 Mission St., San Francisco) on \u003c/i>\u003ca href=\"https://sfpl.org/events/2023/03/26/author-abi-balingit-mayumu\">\u003ci>Sunday, March 26\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Filipinos in the Mission Recorded the First Asian American Rock Album",
"headTitle": "How Filipinos in the Mission Recorded the First Asian American Rock Album | KQED",
"content": "\u003cfigure id=\"attachment_13926505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926505\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-800x630.jpg\" alt=\"\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1.jpg 813w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Frank Magtoto, David Bustamante, Bert Ancheta, Carlos Bato Badia, Romeo Bustamante, Michael Gopaul and David ‘D’ Zandos. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dakila begins their debut album with a call to arms for the young Filipinos, Latinos, and Black kids they rubbed shoulders with as teenagers living in the Mission. “We are all brothers and sisters / Let’s work together,” they sing in Tagalog over a Latin rock groove.\u003c/p>\n\u003cp>“We were right in the middle of this wave of activism. I was hoping our band would encourage Filipinos to go out there and be counted,” says Dakila’s drummer Frank Magtoto, recalling his youth in the ’70s.\u003c/p>\n\u003cp>For a band now considered obscure, Dakila can claim some incredible achievements. After Fanny, they were the second Filipino band signed to a major label, and the first to put their Filipino identity front and center. They were the first American band to record a track in Tagalog. In their time, they were popular, playing shows for Bill Graham alongside the biggest names of their generation.\u003c/p>\n\u003cp>“Santana and Malo, the Pointer Sisters and Sly, and us. We practiced alongside them, we covered their songs, and we sometimes performed with them,” guitar player David Bustamante reminisces.\u003c/p>\n\u003cp>Along with vocalist Romeo Bustamante and conguero Carlos Badia, Frank and David were part of a crowded scene in the Mission, the Black and Brown counterpart to the San Francisco sound up in Haight-Ashbury.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We had all these other bands around us. We felt like we had to come up with a brand of our own, in music or in identity. We’re not Latinos, we’re actually Filipinos from the Mission,” recalls David, “and, on our first record, I think we wanted to expand on that.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=868204738/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Dakila is now getting the attention they have always deserved. Their debut album was reissued in Europe last year, just in time for the 50th anniversary of its release. They are the subject of a \u003ca href=\"https://www.facebook.com/dakilamovie/\">documentary\u003c/a> coming out this year called \u003ca href=\"https://www.dakilamovie.com/\">\u003cem>Searchin’ For My Soul: The Dakila Story\u003c/em>\u003c/a>, directed by local filmmaker Paul Abueg-Igaz. And David, the youngest surviving member of the band, is preparing to take Dakila to concerts across the Bay for the first time since the pandemic started, hoping to capitalize on their newfound popularity.\u003c/p>\n\u003cp>In recent interviews, what he and Frank told me was simply incredible. The story of Dakila connects with the major social struggles shaking the Bay at the time, including the birth of the Asian American protest movement and the United Farm Workers’ fight for labor rights. This political consciousness animated their work — and led to what was likely the first truly Asian American rock album in music history.\u003c/p>\n\u003ch2>The first politically Asian American album\u003c/h2>\n\u003cp>The story of Asian immigrants and their descendants in American music is as long as the history of Asian immigration itself. Every moment in American music history had their representative: Jazz had Japanese American pianist Toshiko Akiyoshi, for example, and early rock ’n’ roll had Filipino four-piece The Rocky Fellers. They certainly broke barriers for Asians in American pop culture, but these forerunners generally lacked an explicitly political, pan-continental self-image; after all, they existed before the term “Asian American” was even coined. That broader political identity only came into being in 1968, when graduate students \u003ca href=\"https://time.com/5837805/asian-american-history/\">Yuji Ichioka and Emma Gee coined the term\u003c/a> to unify activists at UC Berkeley.\u003c/p>\n\u003cp>Yellow Pearl’s folk album \u003cem>A Grain of Sand\u003c/em>, released independently in 1973, is usually cited as the first consciously Asian American album by music critics, thanks to its radical lyrics and pan-Asian philosophy. But perhaps this judgment reflects a pattern, all too common in Asian American studies, of overlooking the achievements of Filipinos. In fact, Dakila’s self-titled came out a year earlier than Yellow Pearl’s work, in 1972, and clearly expresses an Asian American consciousness, down to the decision to sing proudly in Tagalog.\u003c/p>\n\u003cp>Dakila wanted their music to represent Asian Americans, and they made several radical choices to support that movement. On their debut album’s promotional tour, they played for Asian American student groups in campuses across the West Coast. They also performed benefit concerts to fundraise for Cesar Chavez as part of the oft-forgotten Filipino contingent of the United Farm Workers movement.\u003c/p>\n\u003cfigure id=\"attachment_13926507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WINTERLAND-SF-1972-800x643.jpg\" alt=\"An overhead shot of Dakila performing in front of a large club crowd. \" width=\"800\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-800x643.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-768x618.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dakila perform at the Winterland Ballroom in San Francisco in 1972. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first track on their album nods to their involvement in local activism; it includes the slogan “Makibaka,” Tagalog for “struggle,” in its lyrics.\u003c/p>\n\u003cp>“Makibaka was a protest chant that was happening here in the U.S.,” says Frank, who had never spoken about Dakila in the press prior to our interview. “Filipinos were using that when they were protesting our colleges, our government.”\u003c/p>\n\u003cp>Dakila’s background probably contributed to their prescient activist turn. The band’s history is intimately connected with the issues that animated the ’70s generation of Filipino American activists: the American occupation of the Philippines, the Vietnam War and the search for a uniquely Fil-Am identity.\u003c/p>\n\u003ch2>Dakila’s rise to fame\u003c/h2>\n\u003cp>Every Filipino member of Dakila has family ties to the military bases that dot the Bay, the legacy of a government program that granted citizenship to those who served in the Army or Navy during the American occupation of the Philippines. For the Bustamante brothers, Romeo and David, as well as their cousin Frank, the rhythms of military life defined their childhood. Their dads’ army band music was the soundtrack of those years, but once they caught the Beatlemania bug as teenagers, they ditched it for the electric sound of rock’n’roll.\u003c/p>\n\u003cp>David and Romeo got their start rocking out for the school crowds of Vallejo, while Frank did the same over in the Mission, where they respectively grew up. But they didn’t get together and try to make it big until many years later, after Romeo got back from his Vietnam War conscription in Germany with an itch to make a change in his life.\u003c/p>\n\u003cp>David, who was younger than Romeo by almost a decade, was still a senior in high school when his older brother informed him of his plans. “Romeo wanted to form a band because when Santana came out in ’69, he fell in love with that music,” says David. “He had moved to the Mission and his tastes had changed — before that we were playing R&B and funk for school crowds. So he told me that when I got out of high school, I should go play with him in San Francisco.”\u003c/p>\n\u003cp>Romeo assembled a talented, multiracial group of musicians for his band, including the Ancheta cousins, two Filipino guitarists who went on to found the first Asian American hard rock band \u003ca href=\"https://goldendragonband.bandcamp.com/album/golden-dragon\">Golden Dragon\u003c/a>, and Michael Gopaul, Romeo’s brother-in-law who was also a timbales player.\u003c/p>\n\u003cp>“One of our original members was Raul Rekow,” David says, referring to Santana’s longtime conga drummer. “He actually got his start with us before he joined Santana.” In the final lineup, though, Rekow was replaced by another conguero, Carlos Badia.\u003c/p>\n\u003cp>They quickly attained prominence in the Mission’s Latin rock scene, then the focus of intense major label interest after the success of bands like Santana and Malo.\u003c/p>\n\u003cp>“Three record companies approached us and wanted to give us a record deal,” recalls David. “We were in a bidding war with our friends in Malo, but they ended up signed to Warner Brothers while we went with Epic.”\u003c/p>\n\u003cfigure id=\"attachment_13926508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-800x530.jpg\" alt=\"A photo of Dakila rocking out on an outdoor festival stage. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dakila live in the ’70s. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, the band performed under the name Soul Sacrifice — but Romeo felt like they should change their name to something that stood out, something perhaps in Tagalog, their first language. Romeo’s dad was the one who proposed the winning name Dakila, Tagalog for “great.” It put the band’s Filipino heritage front and center, and had another appeal as well.\u003c/p>\n\u003cp>“It kind of sounded like \u003cspan style=\"font-weight: 400\">‘\u003c/span>tequila,’” says Frank, laughing. “And that wasn’t a bad thing for a band to be associated with.”\u003c/p>\n\u003ch2>Dakila tries for the big leagues\u003c/h2>\n\u003cp>Dakila was up to this point a live band, and this was their first time in a record studio. “We practiced every day so we don’t waste any studio time,” says David. “We played like ten original songs for them, which the producers cut and spliced into six tracks on the album.”\u003c/p>\n\u003cp>David is still disgruntled by the producers’ edits, which the band had no say in. “They were like, you’re done recording, you guys come back in the week. Meanwhile, they sped things up and played things backwards and did studio tricks. When we finally heard it, we thought it didn’t sound like us.”\u003c/p>\n\u003cp>The meddling didn’t end with their production. For unknown reasons, Epic decided to release Dakila’s first single, the patchouli-tinged instrumental “El Dùbi,” with a comedic spoken word A-side called “\u003ca href=\"https://www.youtube.com/watch?v=ag1Lg1eTrdI\">Language Lessons\u003c/a>,” created without the band’s involvement.\u003c/p>\n\u003cp>“I didn’t know why [Epic] had to do this language thing,” says Frank with irritation. The spoken word piece posed as an instruction manual for DJs struggling to pronounce Dakila’s Tagalog song titles, but this was just an elaborate set-up for racist jokes about Filipino people (“small but wiry”) and the Tagalog language.\u003c/p>\n\u003cfigure id=\"attachment_13926522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926522\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/dakila-album-cover-800x800.jpg\" alt=\"The members of Dakila pose around a wicker chair, surrounded by trees. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Dakila’s self-titled debut album, shot by Herb Greene in Golden Gate Park.\u003c/figcaption>\u003c/figure>\n\u003cp>Nevertheless, there was one thing about the release the band did have control over: the album cover. Shot by \u003ca href=\"https://www.herbgreenefoto.com/\">Herb Greene\u003c/a> in Golden Gate Park, it features the band members arrayed around a large, round wicker chair, an \u003ca href=\"https://www.youtube.com/watch?v=_V10kWLh71U\">omnipresent feature of album covers in the ’70s\u003c/a>.\u003c/p>\n\u003cp>“We borrowed that chair from \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay [Gardens]\u003c/a> – it was a Filipino restaurant before it became a punk venue, you know,” says Frank. “A lot of people didn’t know this when it was trendy in the ’70s, but it was a Filipino chair, with Filipino origins.”\u003c/p>\n\u003cp>The “peacock” chair, as it is sometimes called, was first built by Filipino prisoners forced into manufacturing goods for American export during the country’s occupation by the United States. The band’s reclamation of that chair was also a reclamation of that history. In their image and in their music, Filipinos were now speaking back to their former colonizers. [aside postid='arts_13924042,arts_13905208,news_11943512']\u003c/p>\n\u003cp>Epic Records, though, didn’t know how to promote a proudly Filipino American band. After making a last ditch effort to boost sales by touring the band through Asian American hotspots in California and Hawaii, Epic quietly dropped the band and scrapped their in-progress second album.\u003c/p>\n\u003cp>“In the band, there was a lot of dissatisfaction with the way things were going,” says Frank. “Not just about the label, but also the band. Members were getting restless, saying we’re not making it because of you, because of this.”\u003c/p>\n\u003cp>“I decided to leave,” says David. “I thought, if this wasn’t going to work out, I’d rather go back to school and get a degree in something that will get me money.”\u003c/p>\n\u003cp>David wasn’t alone in thinking this way: The rest of Dakila called it quits a year after they left Epic.\u003c/p>\n\u003ch2>The band breaks up, but they aren’t forgotten\u003c/h2>\n\u003cp>Carlos Badia and Michael Gopaul left the music industry and disappeared from their bandmates’ lives after Dakila broke up, while the Ancheta cousins moved on to their other band, Golden Dragon. Frank worked his way up from a floor job at a company warehouse to becoming a programmer for that company, all without a degree, while David went to school for nursing and got a job at John Muir Health, in Concord.\u003c/p>\n\u003cp>While they got on with their lives, the band had no idea that their music was still out there, circulating in bootlegged copies in Europe, Asia and South America.\u003c/p>\n\u003cp>“A while ago, some people started telling me that my old band had been up on YouTube for a couple years now,” says David. “I was like, \u003cspan style=\"font-weight: 400\">‘\u003c/span>I don’t know.’ I wasn’t on the internet back then. I guess there are some underground people, a younger generation, who like our music. I started looking it up, and wow, people were selling us on eBay. Cassettes. CDs. Eight tracks!”\u003c/p>\n\u003cfigure id=\"attachment_13926509\" class=\"wp-caption alignright\" style=\"max-width: 776px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973..jpg\" alt=\"David Bustamante plays a guitar solo with great concentration.\" width=\"776\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973..jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973.-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973.-768x950.jpg 768w\" sizes=\"(max-width: 776px) 100vw, 776px\">\u003cfigcaption class=\"wp-caption-text\">David Bustamante at a 1973 Dakila Concert at Winterland in San Francisco, where the band performed with Malo and Buddy Miles. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David, now retired from his job, dedicates his time to preserving the legacy of Dakila. He tried to iron out the ownership rights from Epic Records, copyrighted Dakila’s logo and, most importantly, got the band back together.\u003c/p>\n\u003cp>“David started calling all the band members who were still around for a concert called Voices of Latin Rock,” says Frank. “The promoter of the event wanted to get all the groups that used to play in the ’70s, and he knew Dakila from way back when.”\u003c/p>\n\u003cp>What was supposed to be a one-off reunion turned into multiple event appearances throughout the Bay. The reunion began with David, Romeo, Frank and a new crop of Filipino musicians playing Dakila’s back catalog, but eventually Romeo and Frank decided to retire. Now, David, a full-time musician again, is the only one keeping Dakila alive, performing both their released music and tracks off their scrapped album that never saw the light of day.\u003c/p>\n\u003cp>Last year, for their album’s 50th anniversary, the newly reunited band partnered with Spain’s \u003ca href=\"https://guerssen.com/\">Guerssen Records\u003c/a> to put out the only official reissue of \u003cem>Dakila\u003c/em>. And David finally got his revenge on the producers: “I asked them to digitally slow the tempo down on some tracks to reflect how we wanted it,” David says. “It’s not perfect, but it’s better in my ears.”\u003c/p>\n\u003cp>As for the rest of the living members, they’re all appearing in the forthcoming documentary on the band, \u003cem>Searchin’ For My Soul\u003c/em>, which takes its title from the final track on their album.\u003c/p>\n\u003cp>“Michael wrote that one,” muses David. “It’s really about searching for your identity, you know? A lot of our music is about speaking up and showing who you are. We were one of a kind; you weren’t seeing people like us on the main stage, or on movies, or TV. Now it’s common. We have a lot of Filipino artists, like H.E.R. What we were trying to say back then is becoming reality today.”\u003c/p>\n\u003cp>\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/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For Dakila concert announcements and updates on their upcoming documentary, follow \u003ca href=\"https://www.instagram.com/dakilaband/\">David Bustamante \u003c/a>and the \u003c/em>\u003ca href=\"https://www.instagram.com/dakilamovie/\">Searchin’ for My Soul\u003c/a>\u003cem> film on Instagram. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13926505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926505\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-800x630.jpg\" alt=\"\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1.jpg 813w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Frank Magtoto, David Bustamante, Bert Ancheta, Carlos Bato Badia, Romeo Bustamante, Michael Gopaul and David ‘D’ Zandos. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dakila begins their debut album with a call to arms for the young Filipinos, Latinos, and Black kids they rubbed shoulders with as teenagers living in the Mission. “We are all brothers and sisters / Let’s work together,” they sing in Tagalog over a Latin rock groove.\u003c/p>\n\u003cp>“We were right in the middle of this wave of activism. I was hoping our band would encourage Filipinos to go out there and be counted,” says Dakila’s drummer Frank Magtoto, recalling his youth in the ’70s.\u003c/p>\n\u003cp>For a band now considered obscure, Dakila can claim some incredible achievements. After Fanny, they were the second Filipino band signed to a major label, and the first to put their Filipino identity front and center. They were the first American band to record a track in Tagalog. In their time, they were popular, playing shows for Bill Graham alongside the biggest names of their generation.\u003c/p>\n\u003cp>“Santana and Malo, the Pointer Sisters and Sly, and us. We practiced alongside them, we covered their songs, and we sometimes performed with them,” guitar player David Bustamante reminisces.\u003c/p>\n\u003cp>Along with vocalist Romeo Bustamante and conguero Carlos Badia, Frank and David were part of a crowded scene in the Mission, the Black and Brown counterpart to the San Francisco sound up in Haight-Ashbury.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We had all these other bands around us. We felt like we had to come up with a brand of our own, in music or in identity. We’re not Latinos, we’re actually Filipinos from the Mission,” recalls David, “and, on our first record, I think we wanted to expand on that.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=868204738/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Dakila is now getting the attention they have always deserved. Their debut album was reissued in Europe last year, just in time for the 50th anniversary of its release. They are the subject of a \u003ca href=\"https://www.facebook.com/dakilamovie/\">documentary\u003c/a> coming out this year called \u003ca href=\"https://www.dakilamovie.com/\">\u003cem>Searchin’ For My Soul: The Dakila Story\u003c/em>\u003c/a>, directed by local filmmaker Paul Abueg-Igaz. And David, the youngest surviving member of the band, is preparing to take Dakila to concerts across the Bay for the first time since the pandemic started, hoping to capitalize on their newfound popularity.\u003c/p>\n\u003cp>In recent interviews, what he and Frank told me was simply incredible. The story of Dakila connects with the major social struggles shaking the Bay at the time, including the birth of the Asian American protest movement and the United Farm Workers’ fight for labor rights. This political consciousness animated their work — and led to what was likely the first truly Asian American rock album in music history.\u003c/p>\n\u003ch2>The first politically Asian American album\u003c/h2>\n\u003cp>The story of Asian immigrants and their descendants in American music is as long as the history of Asian immigration itself. Every moment in American music history had their representative: Jazz had Japanese American pianist Toshiko Akiyoshi, for example, and early rock ’n’ roll had Filipino four-piece The Rocky Fellers. They certainly broke barriers for Asians in American pop culture, but these forerunners generally lacked an explicitly political, pan-continental self-image; after all, they existed before the term “Asian American” was even coined. That broader political identity only came into being in 1968, when graduate students \u003ca href=\"https://time.com/5837805/asian-american-history/\">Yuji Ichioka and Emma Gee coined the term\u003c/a> to unify activists at UC Berkeley.\u003c/p>\n\u003cp>Yellow Pearl’s folk album \u003cem>A Grain of Sand\u003c/em>, released independently in 1973, is usually cited as the first consciously Asian American album by music critics, thanks to its radical lyrics and pan-Asian philosophy. But perhaps this judgment reflects a pattern, all too common in Asian American studies, of overlooking the achievements of Filipinos. In fact, Dakila’s self-titled came out a year earlier than Yellow Pearl’s work, in 1972, and clearly expresses an Asian American consciousness, down to the decision to sing proudly in Tagalog.\u003c/p>\n\u003cp>Dakila wanted their music to represent Asian Americans, and they made several radical choices to support that movement. On their debut album’s promotional tour, they played for Asian American student groups in campuses across the West Coast. They also performed benefit concerts to fundraise for Cesar Chavez as part of the oft-forgotten Filipino contingent of the United Farm Workers movement.\u003c/p>\n\u003cfigure id=\"attachment_13926507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WINTERLAND-SF-1972-800x643.jpg\" alt=\"An overhead shot of Dakila performing in front of a large club crowd. \" width=\"800\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-800x643.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-768x618.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dakila perform at the Winterland Ballroom in San Francisco in 1972. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first track on their album nods to their involvement in local activism; it includes the slogan “Makibaka,” Tagalog for “struggle,” in its lyrics.\u003c/p>\n\u003cp>“Makibaka was a protest chant that was happening here in the U.S.,” says Frank, who had never spoken about Dakila in the press prior to our interview. “Filipinos were using that when they were protesting our colleges, our government.”\u003c/p>\n\u003cp>Dakila’s background probably contributed to their prescient activist turn. The band’s history is intimately connected with the issues that animated the ’70s generation of Filipino American activists: the American occupation of the Philippines, the Vietnam War and the search for a uniquely Fil-Am identity.\u003c/p>\n\u003ch2>Dakila’s rise to fame\u003c/h2>\n\u003cp>Every Filipino member of Dakila has family ties to the military bases that dot the Bay, the legacy of a government program that granted citizenship to those who served in the Army or Navy during the American occupation of the Philippines. For the Bustamante brothers, Romeo and David, as well as their cousin Frank, the rhythms of military life defined their childhood. Their dads’ army band music was the soundtrack of those years, but once they caught the Beatlemania bug as teenagers, they ditched it for the electric sound of rock’n’roll.\u003c/p>\n\u003cp>David and Romeo got their start rocking out for the school crowds of Vallejo, while Frank did the same over in the Mission, where they respectively grew up. But they didn’t get together and try to make it big until many years later, after Romeo got back from his Vietnam War conscription in Germany with an itch to make a change in his life.\u003c/p>\n\u003cp>David, who was younger than Romeo by almost a decade, was still a senior in high school when his older brother informed him of his plans. “Romeo wanted to form a band because when Santana came out in ’69, he fell in love with that music,” says David. “He had moved to the Mission and his tastes had changed — before that we were playing R&B and funk for school crowds. So he told me that when I got out of high school, I should go play with him in San Francisco.”\u003c/p>\n\u003cp>Romeo assembled a talented, multiracial group of musicians for his band, including the Ancheta cousins, two Filipino guitarists who went on to found the first Asian American hard rock band \u003ca href=\"https://goldendragonband.bandcamp.com/album/golden-dragon\">Golden Dragon\u003c/a>, and Michael Gopaul, Romeo’s brother-in-law who was also a timbales player.\u003c/p>\n\u003cp>“One of our original members was Raul Rekow,” David says, referring to Santana’s longtime conga drummer. “He actually got his start with us before he joined Santana.” In the final lineup, though, Rekow was replaced by another conguero, Carlos Badia.\u003c/p>\n\u003cp>They quickly attained prominence in the Mission’s Latin rock scene, then the focus of intense major label interest after the success of bands like Santana and Malo.\u003c/p>\n\u003cp>“Three record companies approached us and wanted to give us a record deal,” recalls David. “We were in a bidding war with our friends in Malo, but they ended up signed to Warner Brothers while we went with Epic.”\u003c/p>\n\u003cfigure id=\"attachment_13926508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-800x530.jpg\" alt=\"A photo of Dakila rocking out on an outdoor festival stage. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dakila live in the ’70s. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, the band performed under the name Soul Sacrifice — but Romeo felt like they should change their name to something that stood out, something perhaps in Tagalog, their first language. Romeo’s dad was the one who proposed the winning name Dakila, Tagalog for “great.” It put the band’s Filipino heritage front and center, and had another appeal as well.\u003c/p>\n\u003cp>“It kind of sounded like \u003cspan style=\"font-weight: 400\">‘\u003c/span>tequila,’” says Frank, laughing. “And that wasn’t a bad thing for a band to be associated with.”\u003c/p>\n\u003ch2>Dakila tries for the big leagues\u003c/h2>\n\u003cp>Dakila was up to this point a live band, and this was their first time in a record studio. “We practiced every day so we don’t waste any studio time,” says David. “We played like ten original songs for them, which the producers cut and spliced into six tracks on the album.”\u003c/p>\n\u003cp>David is still disgruntled by the producers’ edits, which the band had no say in. “They were like, you’re done recording, you guys come back in the week. Meanwhile, they sped things up and played things backwards and did studio tricks. When we finally heard it, we thought it didn’t sound like us.”\u003c/p>\n\u003cp>The meddling didn’t end with their production. For unknown reasons, Epic decided to release Dakila’s first single, the patchouli-tinged instrumental “El Dùbi,” with a comedic spoken word A-side called “\u003ca href=\"https://www.youtube.com/watch?v=ag1Lg1eTrdI\">Language Lessons\u003c/a>,” created without the band’s involvement.\u003c/p>\n\u003cp>“I didn’t know why [Epic] had to do this language thing,” says Frank with irritation. The spoken word piece posed as an instruction manual for DJs struggling to pronounce Dakila’s Tagalog song titles, but this was just an elaborate set-up for racist jokes about Filipino people (“small but wiry”) and the Tagalog language.\u003c/p>\n\u003cfigure id=\"attachment_13926522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926522\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/dakila-album-cover-800x800.jpg\" alt=\"The members of Dakila pose around a wicker chair, surrounded by trees. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Dakila’s self-titled debut album, shot by Herb Greene in Golden Gate Park.\u003c/figcaption>\u003c/figure>\n\u003cp>Nevertheless, there was one thing about the release the band did have control over: the album cover. Shot by \u003ca href=\"https://www.herbgreenefoto.com/\">Herb Greene\u003c/a> in Golden Gate Park, it features the band members arrayed around a large, round wicker chair, an \u003ca href=\"https://www.youtube.com/watch?v=_V10kWLh71U\">omnipresent feature of album covers in the ’70s\u003c/a>.\u003c/p>\n\u003cp>“We borrowed that chair from \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay [Gardens]\u003c/a> – it was a Filipino restaurant before it became a punk venue, you know,” says Frank. “A lot of people didn’t know this when it was trendy in the ’70s, but it was a Filipino chair, with Filipino origins.”\u003c/p>\n\u003cp>The “peacock” chair, as it is sometimes called, was first built by Filipino prisoners forced into manufacturing goods for American export during the country’s occupation by the United States. The band’s reclamation of that chair was also a reclamation of that history. In their image and in their music, Filipinos were now speaking back to their former colonizers. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Epic Records, though, didn’t know how to promote a proudly Filipino American band. After making a last ditch effort to boost sales by touring the band through Asian American hotspots in California and Hawaii, Epic quietly dropped the band and scrapped their in-progress second album.\u003c/p>\n\u003cp>“In the band, there was a lot of dissatisfaction with the way things were going,” says Frank. “Not just about the label, but also the band. Members were getting restless, saying we’re not making it because of you, because of this.”\u003c/p>\n\u003cp>“I decided to leave,” says David. “I thought, if this wasn’t going to work out, I’d rather go back to school and get a degree in something that will get me money.”\u003c/p>\n\u003cp>David wasn’t alone in thinking this way: The rest of Dakila called it quits a year after they left Epic.\u003c/p>\n\u003ch2>The band breaks up, but they aren’t forgotten\u003c/h2>\n\u003cp>Carlos Badia and Michael Gopaul left the music industry and disappeared from their bandmates’ lives after Dakila broke up, while the Ancheta cousins moved on to their other band, Golden Dragon. Frank worked his way up from a floor job at a company warehouse to becoming a programmer for that company, all without a degree, while David went to school for nursing and got a job at John Muir Health, in Concord.\u003c/p>\n\u003cp>While they got on with their lives, the band had no idea that their music was still out there, circulating in bootlegged copies in Europe, Asia and South America.\u003c/p>\n\u003cp>“A while ago, some people started telling me that my old band had been up on YouTube for a couple years now,” says David. “I was like, \u003cspan style=\"font-weight: 400\">‘\u003c/span>I don’t know.’ I wasn’t on the internet back then. I guess there are some underground people, a younger generation, who like our music. I started looking it up, and wow, people were selling us on eBay. Cassettes. CDs. Eight tracks!”\u003c/p>\n\u003cfigure id=\"attachment_13926509\" class=\"wp-caption alignright\" style=\"max-width: 776px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973..jpg\" alt=\"David Bustamante plays a guitar solo with great concentration.\" width=\"776\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973..jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973.-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973.-768x950.jpg 768w\" sizes=\"(max-width: 776px) 100vw, 776px\">\u003cfigcaption class=\"wp-caption-text\">David Bustamante at a 1973 Dakila Concert at Winterland in San Francisco, where the band performed with Malo and Buddy Miles. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David, now retired from his job, dedicates his time to preserving the legacy of Dakila. He tried to iron out the ownership rights from Epic Records, copyrighted Dakila’s logo and, most importantly, got the band back together.\u003c/p>\n\u003cp>“David started calling all the band members who were still around for a concert called Voices of Latin Rock,” says Frank. “The promoter of the event wanted to get all the groups that used to play in the ’70s, and he knew Dakila from way back when.”\u003c/p>\n\u003cp>What was supposed to be a one-off reunion turned into multiple event appearances throughout the Bay. The reunion began with David, Romeo, Frank and a new crop of Filipino musicians playing Dakila’s back catalog, but eventually Romeo and Frank decided to retire. Now, David, a full-time musician again, is the only one keeping Dakila alive, performing both their released music and tracks off their scrapped album that never saw the light of day.\u003c/p>\n\u003cp>Last year, for their album’s 50th anniversary, the newly reunited band partnered with Spain’s \u003ca href=\"https://guerssen.com/\">Guerssen Records\u003c/a> to put out the only official reissue of \u003cem>Dakila\u003c/em>. And David finally got his revenge on the producers: “I asked them to digitally slow the tempo down on some tracks to reflect how we wanted it,” David says. “It’s not perfect, but it’s better in my ears.”\u003c/p>\n\u003cp>As for the rest of the living members, they’re all appearing in the forthcoming documentary on the band, \u003cem>Searchin’ For My Soul\u003c/em>, which takes its title from the final track on their album.\u003c/p>\n\u003cp>“Michael wrote that one,” muses David. “It’s really about searching for your identity, you know? A lot of our music is about speaking up and showing who you are. We were one of a kind; you weren’t seeing people like us on the main stage, or on movies, or TV. Now it’s common. We have a lot of Filipino artists, like H.E.R. What we were trying to say back then is becoming reality today.”\u003c/p>\n\u003cp>\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/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For Dakila concert announcements and updates on their upcoming documentary, follow \u003ca href=\"https://www.instagram.com/dakilaband/\">David Bustamante \u003c/a>and the \u003c/em>\u003ca href=\"https://www.instagram.com/dakilamovie/\">Searchin’ for My Soul\u003c/a>\u003cem> film on Instagram. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Thailand's Famous Gay Pink Milk Comes to Oakland",
"headTitle": "Thailand’s Famous Gay Pink Milk Comes to Oakland | KQED",
"content": "\u003cp>The menu at \u003ca href=\"https://www.instagram.com/dekdoicafe/\">Dek Doi Cafe\u003c/a>, the new Thai boba shop on Oakland’s Piedmont Avenue, begins with the expected taro and matcha, Thai tea and mango — the usual flavors in the usual order. But the end of the menu has a surprise: drinks called nom sod and nom chompuu, nom Milo and nom mocha, all in Thai sans translation.\u003c/p>\n\u003cp>Pary Phusawadrattana, a co-owner of the cafe who is manning the cashiers during its soft opening, tells me that this is a deliberate bait and switch. “Customers come in for milk tea, but they get curious about what is ‘nom,’ and they order it. We want to introduce people to Thai drinks, so we keep it on the menu.”\u003c/p>\n\u003cp>“Nom” means milk in Thai, and it’s served flavored and cooled by street vendors throughout Thailand. The most iconic flavor is the blindingly sweet nom chompuu, literally “pink milk,” which is colored by the addition of bright-red sala syrup, which is made with a kind of palm fruit. Other popular flavors include sod (plain), Milo (a malted chocolate drink similar to Ovaltine) and mocha (exactly what it sounds like).\u003c/p>\n\u003cp>I admit, I fell for Pary’s gambit and ordered the nom chompuu out of curiosity. I had vaguely heard of it before: I knew it as nom yen (“cold milk”), the name more often used in Bangkok, Thailand’s media capital. As a watcher of Thai BL (Boys’ Love) dramas — gay romantic television shows that have developed \u003ca href=\"https://time.com/6208817/thailand-bl-dramas-popularity/\">a huge following in Thailand\u003c/a> — I knew that \u003ca href=\"https://www.youtube.com/watch?v=zIvDMvO9Qjs&t=48s\">pink milk had become a meme among the genre’s overseas fans\u003c/a>, who are fascinated by the colorful drink the handsome protagonists tote around the streets of Bangkok.\u003c/p>\n\u003cp>https://twitter.com/perayuhhh/status/1272465135232114688\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pary served the drink to me in a tall boba glass. I was prepared for it to be sweet — anything that shade of neon pink would be — but it was so sugary that I felt a little lightheaded after a swig. Still, I loved it. The creaminess of the milk, the cold ice and the buzz of the sugar rush all sent me back to the strawberry milkshakes and lychee Calpicos of my childhood. Nom chompuu felt like one of the great South/Southeast Asian pink drinks I nostalgically love, up there with rooh afza, falooda and bandung.\u003c/p>\n\u003cp>Later on, I asked Wawa Maneewan — another co-owner of Dek Doi and the brains behind the menu — if the drink’s newfound subcultural popularity influenced her decision to serve it in her new cafe. Wawa said it had more to do with her background: “I’m from Chiang Mai,” she says, referring to the northern Thai city, “and I remember all the cafes that used to be there. That’s why I named the cafe Dek Doi, meaning ‘mountain child’ in Thai. I wanted to make a cafe just like the ones I grew up with.”\u003c/p>\n\u003cp>That’s why she makes it a point to include classic street food like nom chompuu and sweet roti, to represent her roots. The roti, a type of flaky pancake, might be more familiar to Americans as a savory appetizer in Thai restaurants. Dek Doi, however, serves the roti in its street food form, as a dessert topped with either coconut and corn or nutella and banana. It is delicately flaky and tender, much less dense than the frozen roti that you can find in freezer aisles. “The roti is the same one I serve in all my restaurants, except sweet,” Wawa explains. “I wanted to find something fresh, nothing frozen. I eventually found a Thai woman in Daly City who makes roti by hand — I call her Grandma, but she’s not my real grandma — and she makes thousands of them every week for me.”\u003c/p>\n\u003cfigure id=\"attachment_13925325\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925325\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Natera_DekDoiCafe_04.jpg\" alt=\"Close-up view of the cafe's sweet roti topped with coconut and corn.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Most Thai restaurants serve roti as a savory appetizer. At Dek Doi, it’s served as a sweet dessert. Here it’s topped with corn and coconut.\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe the most regional item on the menu is the “Chiang Mai Mocha,” a tribute to her city’s famous coffee industry. “I source the beans from my sister’s coffee fields in the Chiang Rai mountains,” Wawa says. “The beans are very aromatic, but the caffeine content is very small. That way you can have a lot more coffee without feeling bad!”\u003c/p>\n\u003cp>However, to make Dek Doi financially viable, Wawa and her partners added boba and milk tea to the menu. At Dek Doi, you can even add boba to traditional Thai pink milk if you really want to. To a Thai person, that might sound strange, but it’s part of an American trend born out of necessity. Here in the Bay Area, Asian food businesses often capitalize on the widespread recognition of boba to make more niche Asian desserts accessible. In that way, Dek Doi is just like Berkeley’s \u003ca href=\"https://www.kubobaspot.com/\">Kuboba\u003c/a>, which serves Filipino buko pandan mixed with tapioca pearls, or San Jose’s Soyful Desserts, which sells Japanese tofu pudding untraditionally topped with the same.\u003c/p>\n\u003cp>[aside postID='arts_13904913,arts_13915004,arts_13908947']Wawa says she’d rather put top-selling items on her menu than compromise on the quality. “I do this at my other restaurants [\u003ca href=\"https://www.wawathaifood.com/\">Wawa Thai\u003c/a> and \u003ca href=\"https://www.instagram.com/pladaek_thai/?hl=en\">Pla Daek\u003c/a> in Oakland] too. My restaurants are \u003ca href=\"https://eastbayexpress.com/home-plate/\">known for quality\u003c/a>, so we use only fresh ingredients. We want everything to be just as they serve it in Thailand.”\u003c/p>\n\u003cp>Wawa also wants to bring another aspect of a Thai cafe from Chiang Mai to Oakland: the street-side cafe’s role as a community hangout and social venue. Dek Doi is a joint venture between Wawa, Pary (who owns Grand Avenue Thai and Amarin Thai in Oakland), and Ook Papartassee (Neecha Thai), long-time friends who have decades of experience of running restaurants between them. There’s a communal spirit to the business — the day I stopped by, Pary had invited her husband to play the guitar for customers on a little stage at the back of the store, while she kept a watchful eye on her two daughters doing homework in the front.\u003c/p>\n\u003cp>“I want this to be a community space,” says Wawa. “It doesn’t matter if you have money, I want people to come by and ask for help. Maybe local musicians can come to the back and play for tips. I don’t know, but I want this to be a place for everyone.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Dek Doi Cafe is located at 4125 Piedmont Ave. in Oakland, in the Piedmont Alley complex. It will offer a limited soft opening menu until at least the end of February. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The menu at \u003ca href=\"https://www.instagram.com/dekdoicafe/\">Dek Doi Cafe\u003c/a>, the new Thai boba shop on Oakland’s Piedmont Avenue, begins with the expected taro and matcha, Thai tea and mango — the usual flavors in the usual order. But the end of the menu has a surprise: drinks called nom sod and nom chompuu, nom Milo and nom mocha, all in Thai sans translation.\u003c/p>\n\u003cp>Pary Phusawadrattana, a co-owner of the cafe who is manning the cashiers during its soft opening, tells me that this is a deliberate bait and switch. “Customers come in for milk tea, but they get curious about what is ‘nom,’ and they order it. We want to introduce people to Thai drinks, so we keep it on the menu.”\u003c/p>\n\u003cp>“Nom” means milk in Thai, and it’s served flavored and cooled by street vendors throughout Thailand. The most iconic flavor is the blindingly sweet nom chompuu, literally “pink milk,” which is colored by the addition of bright-red sala syrup, which is made with a kind of palm fruit. Other popular flavors include sod (plain), Milo (a malted chocolate drink similar to Ovaltine) and mocha (exactly what it sounds like).\u003c/p>\n\u003cp>I admit, I fell for Pary’s gambit and ordered the nom chompuu out of curiosity. I had vaguely heard of it before: I knew it as nom yen (“cold milk”), the name more often used in Bangkok, Thailand’s media capital. As a watcher of Thai BL (Boys’ Love) dramas — gay romantic television shows that have developed \u003ca href=\"https://time.com/6208817/thailand-bl-dramas-popularity/\">a huge following in Thailand\u003c/a> — I knew that \u003ca href=\"https://www.youtube.com/watch?v=zIvDMvO9Qjs&t=48s\">pink milk had become a meme among the genre’s overseas fans\u003c/a>, who are fascinated by the colorful drink the handsome protagonists tote around the streets of Bangkok.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pary served the drink to me in a tall boba glass. I was prepared for it to be sweet — anything that shade of neon pink would be — but it was so sugary that I felt a little lightheaded after a swig. Still, I loved it. The creaminess of the milk, the cold ice and the buzz of the sugar rush all sent me back to the strawberry milkshakes and lychee Calpicos of my childhood. Nom chompuu felt like one of the great South/Southeast Asian pink drinks I nostalgically love, up there with rooh afza, falooda and bandung.\u003c/p>\n\u003cp>Later on, I asked Wawa Maneewan — another co-owner of Dek Doi and the brains behind the menu — if the drink’s newfound subcultural popularity influenced her decision to serve it in her new cafe. Wawa said it had more to do with her background: “I’m from Chiang Mai,” she says, referring to the northern Thai city, “and I remember all the cafes that used to be there. That’s why I named the cafe Dek Doi, meaning ‘mountain child’ in Thai. I wanted to make a cafe just like the ones I grew up with.”\u003c/p>\n\u003cp>That’s why she makes it a point to include classic street food like nom chompuu and sweet roti, to represent her roots. The roti, a type of flaky pancake, might be more familiar to Americans as a savory appetizer in Thai restaurants. Dek Doi, however, serves the roti in its street food form, as a dessert topped with either coconut and corn or nutella and banana. It is delicately flaky and tender, much less dense than the frozen roti that you can find in freezer aisles. “The roti is the same one I serve in all my restaurants, except sweet,” Wawa explains. “I wanted to find something fresh, nothing frozen. I eventually found a Thai woman in Daly City who makes roti by hand — I call her Grandma, but she’s not my real grandma — and she makes thousands of them every week for me.”\u003c/p>\n\u003cfigure id=\"attachment_13925325\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925325\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Natera_DekDoiCafe_04.jpg\" alt=\"Close-up view of the cafe's sweet roti topped with coconut and corn.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Most Thai restaurants serve roti as a savory appetizer. At Dek Doi, it’s served as a sweet dessert. Here it’s topped with corn and coconut.\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe the most regional item on the menu is the “Chiang Mai Mocha,” a tribute to her city’s famous coffee industry. “I source the beans from my sister’s coffee fields in the Chiang Rai mountains,” Wawa says. “The beans are very aromatic, but the caffeine content is very small. That way you can have a lot more coffee without feeling bad!”\u003c/p>\n\u003cp>However, to make Dek Doi financially viable, Wawa and her partners added boba and milk tea to the menu. At Dek Doi, you can even add boba to traditional Thai pink milk if you really want to. To a Thai person, that might sound strange, but it’s part of an American trend born out of necessity. Here in the Bay Area, Asian food businesses often capitalize on the widespread recognition of boba to make more niche Asian desserts accessible. In that way, Dek Doi is just like Berkeley’s \u003ca href=\"https://www.kubobaspot.com/\">Kuboba\u003c/a>, which serves Filipino buko pandan mixed with tapioca pearls, or San Jose’s Soyful Desserts, which sells Japanese tofu pudding untraditionally topped with the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wawa says she’d rather put top-selling items on her menu than compromise on the quality. “I do this at my other restaurants [\u003ca href=\"https://www.wawathaifood.com/\">Wawa Thai\u003c/a> and \u003ca href=\"https://www.instagram.com/pladaek_thai/?hl=en\">Pla Daek\u003c/a> in Oakland] too. My restaurants are \u003ca href=\"https://eastbayexpress.com/home-plate/\">known for quality\u003c/a>, so we use only fresh ingredients. We want everything to be just as they serve it in Thailand.”\u003c/p>\n\u003cp>Wawa also wants to bring another aspect of a Thai cafe from Chiang Mai to Oakland: the street-side cafe’s role as a community hangout and social venue. Dek Doi is a joint venture between Wawa, Pary (who owns Grand Avenue Thai and Amarin Thai in Oakland), and Ook Papartassee (Neecha Thai), long-time friends who have decades of experience of running restaurants between them. There’s a communal spirit to the business — the day I stopped by, Pary had invited her husband to play the guitar for customers on a little stage at the back of the store, while she kept a watchful eye on her two daughters doing homework in the front.\u003c/p>\n\u003cp>“I want this to be a community space,” says Wawa. “It doesn’t matter if you have money, I want people to come by and ask for help. Maybe local musicians can come to the back and play for tips. I don’t know, but I want this to be a place for everyone.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Dek Doi Cafe is located at 4125 Piedmont Ave. in Oakland, in the Piedmont Alley complex. It will offer a limited soft opening menu until at least the end of February. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Anula’s Cafe, Downtown Oakland’s Home Away From Home, Closes After 13 Years",
"headTitle": "Anula’s Cafe, Downtown Oakland’s Home Away From Home, Closes After 13 Years | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">It was like a jazz funeral on the last day of regular lunch service at Anula’s, the little Sri Lankan-Jamaican lunch spot that provided a home away from home for Downtown Oakland’s beleaguered office workers for the past 13 years. A line of megafans spilled outside, the kind of line that makes passersby stop and ask, “What’s going on?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The atmosphere was chatty and warm—the first time the cafe felt like this since COVID drained away most of the regulars. Ken, a longtime customer who lined up early this Thursday, known among the faithful as lamb curry/Brussels sprouts day, put his affection like this: “Anula is like the Sri Lankan auntie that you never had.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s referring, of course, to Anula Edirisinghe, the one-woman force behind the cafe who is retiring at the end of the week. Even as the line spilled out into Franklin St., Edirisinghe took time to speak with her customers, reminiscing about the past and asking everybody about their children, school life or work, age depending. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edirisinghe’s daughter, Maya Rapier, and ex-husband, Phil Rapier, showed up to join the throng. “I’ve never seen a crowd like this,” says Maya, who would know: In typical family restaurant fashion, she helped her mother run the cafe all throughout high school. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This crowd may have been Rapier’s accidental doing—her Twitter thread celebrating her mom’s legacy went \u003c/span>\u003ca href=\"https://twitter.com/raindropx510/status/1554325213038292992?s=20&t=McpYnxbWNZLdQklE8gmNIQ\">\u003cspan style=\"font-weight: 400\">locally viral\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> earlier in the week. ”Even if all you buy is a smoothie or a hot chai, it would mean so much. She’s given her life to her cafe,” Rapier wrote. “She loves feeding people and she loves making people happy. Plz help me make her happy this week.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917188\" class=\"wp-caption alignnone\" style=\"max-width: 1228px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/FZIiG9wUYAA8knb.jpg\" alt=\"Anula Edirisinghe and her daughter Maya Rapier pose in front of Anula's Cafe; the sign in the window advertises the restaurant's offerings: "espresso, gourmet sandwiches, daily hot meal specials," and so on.\" width=\"1228\" height=\"1818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb-800x1184.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb-1020x1510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb-768x1137.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb-1038x1536.jpg 1038w\" sizes=\"(max-width: 1228px) 100vw, 1228px\">\u003cfigcaption class=\"wp-caption-text\">Anula Edirisinghe (right) and her daughter Maya Rapier pose for a picture in front of Anula’s Cafe. \u003ccite>(Thalía Gochez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anula’s is the kind of place where people come for the company, but that’s not to say the food is lacking. Much feted is \u003c/span>\u003ca href=\"https://eastbayexpress.com/a-destination-deli-1/\">\u003cspan style=\"font-weight: 400\">Anula’s jerk chicken\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which bathes moist drumsticks in a herby sauce with a strong hit of bitter smokiness, served over a bed of rice and beans. The chicken is a Tuesday item: At Anula’s, every workday has its own menu of one vegetarian and one non-veg dish, which repeat in a cycle basically unchanged since the cafe’s beginnings. Today’s specials, brussel sprouts or lamb curry served over fragrant turmeric rice, were so popular that they sold out mid-lunch, and Edirisinghe had to turn dozens of customers away.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I only use good ingredients in my food, you know,” Edirisinghe says when asked what her secret sauce was, “lots of organic.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“She was spending good money to buy quality ingredients,” says Rapier, recounting her weekly shopping trips to the Berkeley Bowl with her mom to source fresh vegetables. “I always encouraged her to raise the price,” which is currently $13.50 for a generous combo plate, “but she just didn’t have the heart to do it.”\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/B7tucLNB_fJ/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anula’s Cafe opened up in 2009, after Edirisinghe found a cheap storefront through Craigslist on the bottom floor of the Financial Center Building, across from the Tribune Tower. She had no experience with the food service industry before her impulse buy: She ran a flower shop two blocks down the street for fifteen years until her friends, impressed by her home cooking, encouraged her to make it a business. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though Edirisinghe herself is Sri Lankan, born a little outside of the island’s capital of Colombo, she put many Jamaican staples on the menu of her new cafe: jerk chicken, patties, rice and peas.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother-in-law taught me,” Edirisinghe says, referring to the mother of her ex-husband, Phil, who is Caribbean-Canadian. “I like Jamaican food—Sri Lankan food is too hard to cook!” Still, she has some Sri Lankan favorites up on the chalkboard: veggie roti, chana masala and, once a month, the elaborate preparation of jackfruit, coconut sambol and rice wrapped in a banana leaf known as lamprais. \u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/B71fZiBhjWb/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That menu has basically stayed the same since the cafe first opened. “She was just so stubborn about changing the menu, because she just didn’t want to disappoint her long term customers,” Rapier says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She always thought of the community first when she made business decisions, and not just when it came to the menus and prices. For example, Edirisinghe, for many years, would hire refugee women from the nearby International Rescue Committee offices to provide them stable employment in their new city.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Repaying the favor, the community gave back. Business was brisk, by all accounts, until the pandemic hit. The cafe shuttered for two years, until February 2022, when Edirisinghe felt that it was safe to reopen. But without office workers she struggled to turn a profit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13916312,arts_13910410,bayareabites_136429']The cafe has no kitchen, so Edirisinghe leases space at a commissary kitchen a few blocks away, below the Ramada hotel, to cook in the mornings. When that kitchen’s rent spiked, she felt she had no option but to throw in the towel and take an early retirement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m sad, but I’m looking forward to a break,” Edirisinghe says. “I want to go on a trip back to Sri Lanka with my daughter.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edirisinghe is keeping her catering business, and some of her faithful regulars have already commissioned her for birthday parties, office functions and formal events. They’re worried for her—ever since Edirisinghe went behind on her mortgage payments in 2018 and lost her house, her toehold on the city has weakened. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Edirisinghe herself isn’t planning on leaving the community she has formed around her restaurant anytime soon. “I’m Oakland,” she said to a customer who asked about her future plans. “I’m staying here only.”\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>\u003ci>\u003cspan style=\"font-weight: 400\">Anula’s Cafe (1319 Franklin St) is throwing a farewell party on Saturday, Aug. 6, from noon–3pm. \u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">It was like a jazz funeral on the last day of regular lunch service at Anula’s, the little Sri Lankan-Jamaican lunch spot that provided a home away from home for Downtown Oakland’s beleaguered office workers for the past 13 years. A line of megafans spilled outside, the kind of line that makes passersby stop and ask, “What’s going on?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The atmosphere was chatty and warm—the first time the cafe felt like this since COVID drained away most of the regulars. Ken, a longtime customer who lined up early this Thursday, known among the faithful as lamb curry/Brussels sprouts day, put his affection like this: “Anula is like the Sri Lankan auntie that you never had.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s referring, of course, to Anula Edirisinghe, the one-woman force behind the cafe who is retiring at the end of the week. Even as the line spilled out into Franklin St., Edirisinghe took time to speak with her customers, reminiscing about the past and asking everybody about their children, school life or work, age depending. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edirisinghe’s daughter, Maya Rapier, and ex-husband, Phil Rapier, showed up to join the throng. “I’ve never seen a crowd like this,” says Maya, who would know: In typical family restaurant fashion, she helped her mother run the cafe all throughout high school. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This crowd may have been Rapier’s accidental doing—her Twitter thread celebrating her mom’s legacy went \u003c/span>\u003ca href=\"https://twitter.com/raindropx510/status/1554325213038292992?s=20&t=McpYnxbWNZLdQklE8gmNIQ\">\u003cspan style=\"font-weight: 400\">locally viral\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> earlier in the week. ”Even if all you buy is a smoothie or a hot chai, it would mean so much. She’s given her life to her cafe,” Rapier wrote. “She loves feeding people and she loves making people happy. Plz help me make her happy this week.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917188\" class=\"wp-caption alignnone\" style=\"max-width: 1228px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/FZIiG9wUYAA8knb.jpg\" alt=\"Anula Edirisinghe and her daughter Maya Rapier pose in front of Anula's Cafe; the sign in the window advertises the restaurant's offerings: "espresso, gourmet sandwiches, daily hot meal specials," and so on.\" width=\"1228\" height=\"1818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb-800x1184.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb-1020x1510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb-768x1137.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/FZIiG9wUYAA8knb-1038x1536.jpg 1038w\" sizes=\"(max-width: 1228px) 100vw, 1228px\">\u003cfigcaption class=\"wp-caption-text\">Anula Edirisinghe (right) and her daughter Maya Rapier pose for a picture in front of Anula’s Cafe. \u003ccite>(Thalía Gochez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anula’s is the kind of place where people come for the company, but that’s not to say the food is lacking. Much feted is \u003c/span>\u003ca href=\"https://eastbayexpress.com/a-destination-deli-1/\">\u003cspan style=\"font-weight: 400\">Anula’s jerk chicken\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which bathes moist drumsticks in a herby sauce with a strong hit of bitter smokiness, served over a bed of rice and beans. The chicken is a Tuesday item: At Anula’s, every workday has its own menu of one vegetarian and one non-veg dish, which repeat in a cycle basically unchanged since the cafe’s beginnings. Today’s specials, brussel sprouts or lamb curry served over fragrant turmeric rice, were so popular that they sold out mid-lunch, and Edirisinghe had to turn dozens of customers away.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I only use good ingredients in my food, you know,” Edirisinghe says when asked what her secret sauce was, “lots of organic.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“She was spending good money to buy quality ingredients,” says Rapier, recounting her weekly shopping trips to the Berkeley Bowl with her mom to source fresh vegetables. “I always encouraged her to raise the price,” which is currently $13.50 for a generous combo plate, “but she just didn’t have the heart to do it.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Anula’s Cafe opened up in 2009, after Edirisinghe found a cheap storefront through Craigslist on the bottom floor of the Financial Center Building, across from the Tribune Tower. She had no experience with the food service industry before her impulse buy: She ran a flower shop two blocks down the street for fifteen years until her friends, impressed by her home cooking, encouraged her to make it a business. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though Edirisinghe herself is Sri Lankan, born a little outside of the island’s capital of Colombo, she put many Jamaican staples on the menu of her new cafe: jerk chicken, patties, rice and peas.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother-in-law taught me,” Edirisinghe says, referring to the mother of her ex-husband, Phil, who is Caribbean-Canadian. “I like Jamaican food—Sri Lankan food is too hard to cook!” Still, she has some Sri Lankan favorites up on the chalkboard: veggie roti, chana masala and, once a month, the elaborate preparation of jackfruit, coconut sambol and rice wrapped in a banana leaf known as lamprais. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">That menu has basically stayed the same since the cafe first opened. “She was just so stubborn about changing the menu, because she just didn’t want to disappoint her long term customers,” Rapier says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She always thought of the community first when she made business decisions, and not just when it came to the menus and prices. For example, Edirisinghe, for many years, would hire refugee women from the nearby International Rescue Committee offices to provide them stable employment in their new city.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Repaying the favor, the community gave back. Business was brisk, by all accounts, until the pandemic hit. The cafe shuttered for two years, until February 2022, when Edirisinghe felt that it was safe to reopen. But without office workers she struggled to turn a profit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The cafe has no kitchen, so Edirisinghe leases space at a commissary kitchen a few blocks away, below the Ramada hotel, to cook in the mornings. When that kitchen’s rent spiked, she felt she had no option but to throw in the towel and take an early retirement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m sad, but I’m looking forward to a break,” Edirisinghe says. “I want to go on a trip back to Sri Lanka with my daughter.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edirisinghe is keeping her catering business, and some of her faithful regulars have already commissioned her for birthday parties, office functions and formal events. They’re worried for her—ever since Edirisinghe went behind on her mortgage payments in 2018 and lost her house, her toehold on the city has weakened. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Edirisinghe herself isn’t planning on leaving the community she has formed around her restaurant anytime soon. “I’m Oakland,” she said to a customer who asked about her future plans. “I’m staying here only.”\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>\u003ci>\u003cspan style=\"font-weight: 400\">Anula’s Cafe (1319 Franklin St) is throwing a farewell party on Saturday, Aug. 6, from noon–3pm. \u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I can’t speak Vietnamese. I can’t fit into any off-the-rack ao dai. But at the very least I can taste for good flavor balance in any pho broth, or assemble a bite of banh xeo, lettuce and herbs without explanation,” \u003cem>SF Chronicle\u003c/em> food critic Soleil Ho writes in \u003ca href=\"https://tastecooking.com/vietnamese-food-america-frozen-1970s/\">an essay for \u003cem>Taste\u003c/em>\u003c/a>, doing the kind of identity triangulating familiar to any hyphenated American.\u003c/p>\n\u003cp>Her larger point, both in that essay and in her broader work, is that the cooking of American immigrant communities is more fraught with meaning than most people realize. They’re not just expressions of “grandma’s kitchen,” to put it in well-worn terms, but also expressions of in-group politics and allegiances, perhaps most dramatically represented by Vietnamese American cuisine’s fealty to the styles of the 1970s Saigon they fled.\u003c/p>\n\u003cp>“We’re only just beginning to complicate what it means to be an immigrant and what it means to engage in diaspora,” Ho says over the phone, choosing her words carefully.\u003c/p>\n\u003cp>On November 18, Ho will host a talk and cooking demonstration centered on just that issue, along with Diep Tran, the owner of LA’s Good Girl Dinette and co-author of the upcoming \u003cem>\u003ca href=\"https://redboatfishsauce.com/pages/red-boat-cookbook\">Red Boat Fish Sauce Cookbook\u003c/a>. \u003c/em>The talk is part of the \u003ca href=\"https://asianart.org/\">Asian Art Museum’s\u003c/a> “At The Table“ event series.\u003c/p>\n\u003cp>The stakes of the discussion are personal to Ho. As a queer Vietnamese American, she feels like her relationship to diasporic cooking is complicated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13905293,arts_13906189']\u003c/span>“If you are different in some way, like in gender identity or your sexuality, and you’re also from a community of color that doesn’t really know how to handle that, it’s easy to distance yourself from that and find community elsewhere,“ she says. “So I wanted to make space to explore the idea that maybe you can be both [queer and Vietnamese]. Maybe there are people out there who understand. Let’s talk about what that community could look like and what we would eat together.”\u003c/p>\n\u003cp>The subject of the event was chosen by Ho, but Tran—who also identifies as queer—surprised Ho with her choice of chả trứng chiên, or pork and egg meatloaf, as the dish for the talk’s accompanying cooking demonstration.\u003c/p>\n\u003cp>“We in the food world are still kind of working through our idea of what queer food is and what constitutes queer food and queer cooking,” says Ho. “Often it is associated with splendor, spectacle, hedonism. So it’s a really interesting choice to do an egg meatloaf, which is a very home cooking dish … I think from a political standpoint it emphasizes the banality that is so often a part of queer life.”\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>Soleil Ho and Diep Tran’s “At the Table” cooking demonstration and talk happens at the Asian Art Museum (200 Larkin St., San Francisco) on November 18. \u003ca href=\"https://calendar.asianart.org/event/at-the-table-with-sf-chronicles-soleil-ho-and-diep-tran/\">Details and ticket reservation information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I can’t speak Vietnamese. I can’t fit into any off-the-rack ao dai. But at the very least I can taste for good flavor balance in any pho broth, or assemble a bite of banh xeo, lettuce and herbs without explanation,” \u003cem>SF Chronicle\u003c/em> food critic Soleil Ho writes in \u003ca href=\"https://tastecooking.com/vietnamese-food-america-frozen-1970s/\">an essay for \u003cem>Taste\u003c/em>\u003c/a>, doing the kind of identity triangulating familiar to any hyphenated American.\u003c/p>\n\u003cp>Her larger point, both in that essay and in her broader work, is that the cooking of American immigrant communities is more fraught with meaning than most people realize. They’re not just expressions of “grandma’s kitchen,” to put it in well-worn terms, but also expressions of in-group politics and allegiances, perhaps most dramatically represented by Vietnamese American cuisine’s fealty to the styles of the 1970s Saigon they fled.\u003c/p>\n\u003cp>“We’re only just beginning to complicate what it means to be an immigrant and what it means to engage in diaspora,” Ho says over the phone, choosing her words carefully.\u003c/p>\n\u003cp>On November 18, Ho will host a talk and cooking demonstration centered on just that issue, along with Diep Tran, the owner of LA’s Good Girl Dinette and co-author of the upcoming \u003cem>\u003ca href=\"https://redboatfishsauce.com/pages/red-boat-cookbook\">Red Boat Fish Sauce Cookbook\u003c/a>. \u003c/em>The talk is part of the \u003ca href=\"https://asianart.org/\">Asian Art Museum’s\u003c/a> “At The Table“ event series.\u003c/p>\n\u003cp>The stakes of the discussion are personal to Ho. As a queer Vietnamese American, she feels like her relationship to diasporic cooking is complicated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>“If you are different in some way, like in gender identity or your sexuality, and you’re also from a community of color that doesn’t really know how to handle that, it’s easy to distance yourself from that and find community elsewhere,“ she says. “So I wanted to make space to explore the idea that maybe you can be both [queer and Vietnamese]. Maybe there are people out there who understand. Let’s talk about what that community could look like and what we would eat together.”\u003c/p>\n\u003cp>The subject of the event was chosen by Ho, but Tran—who also identifies as queer—surprised Ho with her choice of chả trứng chiên, or pork and egg meatloaf, as the dish for the talk’s accompanying cooking demonstration.\u003c/p>\n\u003cp>“We in the food world are still kind of working through our idea of what queer food is and what constitutes queer food and queer cooking,” says Ho. “Often it is associated with splendor, spectacle, hedonism. So it’s a really interesting choice to do an egg meatloaf, which is a very home cooking dish … I think from a political standpoint it emphasizes the banality that is so often a part of queer life.”\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>Soleil Ho and Diep Tran’s “At the Table” cooking demonstration and talk happens at the Asian Art Museum (200 Larkin St., San Francisco) on November 18. \u003ca href=\"https://calendar.asianart.org/event/at-the-table-with-sf-chronicles-soleil-ho-and-diep-tran/\">Details and ticket reservation information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>During the summer of 1969, while Jimi Hendrix improvised his famous psychedelic rendition of the National Anthem at Woodstock, an equally significant festival was going down in New York City. The Harlem Cultural Festival spanned six weekends, with America’s leading funk, soul and gospel musicians performing to crowds of tens of thousands—a mega-event that channeled the revolutionary energy then coursing through the nation just as much as its whiter festival cousin, a hundred miles to the west.\u003c/p>\n\u003cp>[aside postID='arts_13899714']On Saturday, Nov. 6, SFFILM screens \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em>, the acclaimed documentary on the so-called “Black Woodstock,” with producer Questlove appearing in person for a Q&A with rock journalist Ben Fong-Torres.\u003c/p>\n\u003cp>While the film is available on Hulu, its rarely seen footage of performances by Mahalia Jackson, Stevie Wonder, Nina Simone and others is best admired at larger-than-life size on the silver screen. The Castro Theatre’s ornate interior has only intermittently hosted public events since it shut down for the pandemic last March.\u003c/p>\n\u003cp>The documentary’s archival footage comes from Hal Tulchin, a television director who passed away in 2017. Tulchin filmed the entire Harlem Cultural Festival and preserved the reels for decades, but did not secure the full release of the footage during his lifetime. When the film was released in June, \u003cem>Summer of Soul\u003c/em> attracted widespread praise for its beautiful restoration of Tulchin’s reels and extensive set of interviews with the festival’s stars.\u003c/p>\n\u003cp>\u003cem>Summer of Soul\u003c/em> screens Saturday, Nov. 6, accompanied by a Q&A between Questlove and Ben Fong-Torres, at the Castro Theatre in San Francisco. \u003ca href=\"https://sffilm.org/event/summer-of-soul/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Saturday, Nov. 6, SFFILM screens \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em>, the acclaimed documentary on the so-called “Black Woodstock,” with producer Questlove appearing in person for a Q&A with rock journalist Ben Fong-Torres.\u003c/p>\n\u003cp>While the film is available on Hulu, its rarely seen footage of performances by Mahalia Jackson, Stevie Wonder, Nina Simone and others is best admired at larger-than-life size on the silver screen. The Castro Theatre’s ornate interior has only intermittently hosted public events since it shut down for the pandemic last March.\u003c/p>\n\u003cp>The documentary’s archival footage comes from Hal Tulchin, a television director who passed away in 2017. Tulchin filmed the entire Harlem Cultural Festival and preserved the reels for decades, but did not secure the full release of the footage during his lifetime. When the film was released in June, \u003cem>Summer of Soul\u003c/em> attracted widespread praise for its beautiful restoration of Tulchin’s reels and extensive set of interviews with the festival’s stars.\u003c/p>\n\u003cp>\u003cem>Summer of Soul\u003c/em> screens Saturday, Nov. 6, accompanied by a Q&A between Questlove and Ben Fong-Torres, at the Castro Theatre in San Francisco. \u003ca href=\"https://sffilm.org/event/summer-of-soul/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PHOTOS: An Electric Return for Outside Lands with Tyler, the Creator and More",
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"content": "\u003cp>“This really is beautiful,” Tyler, the Creator wondered out loud in the silence in between songs. “The fog came in, that shit was cute. And the trees,” he said, looking out into the thousands of faces jostling in the muddy grounds of Golden Gate Park on Friday.\u003c/p>\n\u003cp>It was true: there was something especially beautiful about the scene set by the first day of Outside Lands. Sometime during Puerto Rican synthpop duo’s Buscabulla’s set the fog rolled in, like the Bay’s natural smoke machine. The haze wrapped around the glowing mushroom sculptures and windmill decor, giving everything an autumnal, Ren Faire look. This was the first time the festival, usually held in August, has taken place this late in the year, and even the park dressed appropriately for the season.\u003c/p>\n\u003cp>In this special Halloween edition of Outside Lands, the festival continued its tilt away from its indie rock origins to its current big-tent incarnation, with acts as disparate as Glass Animals, Kaytranada and Sharon Van Etten sharing space in the lineup.\u003c/p>\n\u003cp>Here’s who impressed the most during the opening day of the festival.\u003c/p>\n\u003cfigure id=\"attachment_13905521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flo Milli’s short but mighty raps\u003c/h2>\n\u003cp>I arrived to Flo Milli’s set after checking out Khruangbin, the Houston trio whose psychedelic, dub-inflected instrumental rock got an initially stiff and awkward audience reaction—this isn’t the Acid Test era of San Francisco anymore. The crowd at Flo Milli, however, was bouncing and screaming her tagline (“Ho, Flo Milli Shit, ho!”) over bass so deep that it made my ribcage vibrate like a tuning fork.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flo Milli’s debut album, and so far, her only album, has exactly 30 minutes of music on it, so it was hard to imagine how she would fill up the 40 minutes of her allotted stage time. It turns out, she chose to perform a lean, 20 minute set with only her biggest hits. But, hey, it’s hard to complain when the crowd could sing every word of her schoolyard-taunt raps at the top of their lungs.\u003c/p>\n\u003cfigure id=\"attachment_13905525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Soul Rebels brought NOLA to the Bay\u003c/h2>\n\u003cp>This New Orleans eight-piece bass band was a surprise hit with festival-goers. Sure, they don’t have the Gold records or Billboard toppers, but who cares when they’re this good? They’re NOLA through and through: their set is accompanied by B-roll featuring the band posing in front of shotgun houses and shopping in the French Quarter. Everyone was dressed up in their best George Clinton funk outfits, and they played their original work mixed in with crowd-pleasing covers of Ice Cube and Thundercat. Though they’ve headlined their own tours for years, some fans know The Soul Rebels as a backing band \u003ca href=\"http://freshisthepodcast.com/breakin-recordz-8-the-soul-rebels/\" target=\"_blank\" rel=\"noopener noreferrer\">for other people’s concerts\u003c/a>. But at Outside Lands, they showed they can hold their own as a main act.\u003c/p>\n\u003cfigure id=\"attachment_13905497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EARTHGANG performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>EARTHGANG’s stripped-down set wowed without distractions\u003c/h2>\n\u003cp>No vocal backing track. No razzle-dazzle. Olu and Wowgr8, the duo behind EARTHGANG, kept it simple: a static logo on screen, one DJ and themselves. I admit, I wondered how these two minor stars managed to secure a prime-time slot on one of the big stages, but they made me swallow my words. By the end of the night, the word on the shuttle bus was that they had Friday’s best set.\u003c/p>\n\u003cp>Their recipe for success is simple: get the crowd hyped, get the music going hard, and then let their talent rip. I mean, these guys are the equivalent of kids who go on \u003cem>America’s Got Talent\u003c/em> and tear through “Flight of the Bumblebee” on the violin—they’re rap virtuosos who aren’t afraid to show it off. Triplet flow, double time, freestyle: EARTHGANG could switch it up on a dime, which they did on almost every track.\u003c/p>\n\u003cp>They even premiered a new single, “Ghetto Gods,” and everyone can check it out via \u003ca href=\"https://www.youtube.com/watch?v=LqG5_Hlkrmo\">surreptitious upload on YouTube\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13905502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">JPEGMAFIA performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>JPEGMafia didn’t water down his weirdness\u003c/h2>\n\u003cp>The last time I saw Peggy was at 2018’s Treasure Island Music Festival, where he played an early slot on a tiny stage to maybe 50 people. And those 50 people were really into it, thrashing and crashing their bodies into each other like football players on the line of scrimmage. At one point Peggy jumped off the stage, started moshing just as hard as his fans, and looked like he was about to fight one of them (his backstage team seemed to talk him out of it).\u003c/p>\n\u003cp>A few more critically acclaimed albums later, and JPEGMafia’s gotten enough clout to score a prominent spot in Friday’s schedule. But even in the major leagues, Peggy’s punk-y, D.I.Y. ethos remains unchanged. If EARTHGANG’s set was stripped down, I’m not sure what to call JPEGMafia’s performance. There was literally nothing besides his MacBook and the man himself on stage. I mean, he had to walk to his laptop between every song to hit play on the next track. After his first song, a rough and unintelligible performance of “Jesus Forgive Me, I am a Thot,” he took a hard look at his computer screen and announced, a little sheepishly: “Sorry, everyone, I had two layers of autotune on.”\u003c/p>\n\u003cp>Not that Peggy’s experimental hip-hop needs an audio slip-up to sound harsh and dissonant. Parts of the audience kept on peeling off with every song, pushed away by the unfriendly sound (this is an artist, after all, that makes “\u003ca href=\"https://www.vice.com/en/article/kzjpka/jpegmafia-explains-why-he-makes-music-to-be-hated\">Music to be Hated\u003c/a>”). Who was left by the end of the set was the faithful Peggy fans, and for them, they wouldn’t have it any other way.\u003c/p>\n\u003cfigure id=\"attachment_13905533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tyler, the Creator embraced his evolution in a powerful closer\u003c/h2>\n\u003cp>The less said about The Strokes, who played Outside Lands like they were their own cover band, the better. Tyler, the Creator was the better headliner of the night; he played a downscaled version of his critically \u003ca href=\"https://www.vulture.com/2021/08/watch-tyler-the-creators-cinematic-lollapalooza-set.html\" target=\"_blank\" rel=\"noopener noreferrer\">acclaimed Lollapalooza set from July\u003c/a>.\u003c/p>\n\u003cp>Like that earlier show, Tyler’s Outside Lands performance was a sentimental look back at his decade-long career, from his beginnings as an scrappy blogazine favorite to his current softboy pop star aesthetic. He dressed the Land’s End stage up in plastic rocks and projected pine trees to look like a lakeside pier, complete with prop speedboat rocking on fake water. It was all very reminiscent of “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw&ab_channel=SoulsOfMischiefVEVO\" target=\"_blank\" rel=\"noopener noreferrer\">93 ’Til Infinity\u003c/a>,” tapping into a Bay Area tradition of flexing on picturesque scenery.\u003c/p>\n\u003cp>Tyler was relaxed and casual during his set, chatting with his audience between tracks. “A lot of you found me through \u003cem>Call Me If You Get Lost\u003c/em>, \u003cem>Igor\u003c/em>, \u003cem>Flower Boy\u003c/em> … but [there was] a time where [people] were cancelling me in real life,” Tyler said, referring to his controversial and \u003ca href=\"https://genius.com/a/tyler-the-creator-says-his-2011-album-goblin-is-horrible-in-hindsight\" target=\"_blank\" rel=\"noopener noreferrer\">now partially disowned early work\u003c/a>. “Can I do songs from that album?”\u003c/p>\n\u003cp>As he went deeper into his back catalog, the scenery on stage got darker, from a sunny day to the evening to a starry night, and finally, during a performance of “She,” to a blank, pitch-black void. It’s a reflection of the complicated relationship that Tyler has with his past persona of a homophobic, misogynist edgelord—he acknowledges that it came from a dark place in his life, but he’s reluctant to distance himself from his breakout hits any further than that.\u003c/p>\n\u003cp>I’m ambivalent about this gambit, but I can acknowledge that Tyler’s stagecraft is setting a high bar. I mean, how many festival sets are artfully composed enough to allow a glimpse into an artist’s psyche? In the end, the sun rises on stage, and Tyler starts performing songs off his latest album, \u003cem>Call Me If You Get Lost\u003c/em>. The message is clear: whatever you think about his past, for Tyler at least, it’s a new day—a fresh start.\u003c/p>\n\u003cfigure id=\"attachment_13905506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905528\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Strokes perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madeline Kenney backstage at Outside Lands on Friday Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moses Sumney performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Van Etten performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905529\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905499\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Glass Animals perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "EARTHGANG wowed with virtuosic rapping; Nola funk band The Soul Rebels held their own. ",
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"title": "PHOTOS: An Electric Return for Outside Lands with Tyler, the Creator and More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“This really is beautiful,” Tyler, the Creator wondered out loud in the silence in between songs. “The fog came in, that shit was cute. And the trees,” he said, looking out into the thousands of faces jostling in the muddy grounds of Golden Gate Park on Friday.\u003c/p>\n\u003cp>It was true: there was something especially beautiful about the scene set by the first day of Outside Lands. Sometime during Puerto Rican synthpop duo’s Buscabulla’s set the fog rolled in, like the Bay’s natural smoke machine. The haze wrapped around the glowing mushroom sculptures and windmill decor, giving everything an autumnal, Ren Faire look. This was the first time the festival, usually held in August, has taken place this late in the year, and even the park dressed appropriately for the season.\u003c/p>\n\u003cp>In this special Halloween edition of Outside Lands, the festival continued its tilt away from its indie rock origins to its current big-tent incarnation, with acts as disparate as Glass Animals, Kaytranada and Sharon Van Etten sharing space in the lineup.\u003c/p>\n\u003cp>Here’s who impressed the most during the opening day of the festival.\u003c/p>\n\u003cfigure id=\"attachment_13905521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flo Milli’s short but mighty raps\u003c/h2>\n\u003cp>I arrived to Flo Milli’s set after checking out Khruangbin, the Houston trio whose psychedelic, dub-inflected instrumental rock got an initially stiff and awkward audience reaction—this isn’t the Acid Test era of San Francisco anymore. The crowd at Flo Milli, however, was bouncing and screaming her tagline (“Ho, Flo Milli Shit, ho!”) over bass so deep that it made my ribcage vibrate like a tuning fork.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Flo Milli’s debut album, and so far, her only album, has exactly 30 minutes of music on it, so it was hard to imagine how she would fill up the 40 minutes of her allotted stage time. It turns out, she chose to perform a lean, 20 minute set with only her biggest hits. But, hey, it’s hard to complain when the crowd could sing every word of her schoolyard-taunt raps at the top of their lungs.\u003c/p>\n\u003cfigure id=\"attachment_13905525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Soul Rebels brought NOLA to the Bay\u003c/h2>\n\u003cp>This New Orleans eight-piece bass band was a surprise hit with festival-goers. Sure, they don’t have the Gold records or Billboard toppers, but who cares when they’re this good? They’re NOLA through and through: their set is accompanied by B-roll featuring the band posing in front of shotgun houses and shopping in the French Quarter. Everyone was dressed up in their best George Clinton funk outfits, and they played their original work mixed in with crowd-pleasing covers of Ice Cube and Thundercat. Though they’ve headlined their own tours for years, some fans know The Soul Rebels as a backing band \u003ca href=\"http://freshisthepodcast.com/breakin-recordz-8-the-soul-rebels/\" target=\"_blank\" rel=\"noopener noreferrer\">for other people’s concerts\u003c/a>. But at Outside Lands, they showed they can hold their own as a main act.\u003c/p>\n\u003cfigure id=\"attachment_13905497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EARTHGANG performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>EARTHGANG’s stripped-down set wowed without distractions\u003c/h2>\n\u003cp>No vocal backing track. No razzle-dazzle. Olu and Wowgr8, the duo behind EARTHGANG, kept it simple: a static logo on screen, one DJ and themselves. I admit, I wondered how these two minor stars managed to secure a prime-time slot on one of the big stages, but they made me swallow my words. By the end of the night, the word on the shuttle bus was that they had Friday’s best set.\u003c/p>\n\u003cp>Their recipe for success is simple: get the crowd hyped, get the music going hard, and then let their talent rip. I mean, these guys are the equivalent of kids who go on \u003cem>America’s Got Talent\u003c/em> and tear through “Flight of the Bumblebee” on the violin—they’re rap virtuosos who aren’t afraid to show it off. Triplet flow, double time, freestyle: EARTHGANG could switch it up on a dime, which they did on almost every track.\u003c/p>\n\u003cp>They even premiered a new single, “Ghetto Gods,” and everyone can check it out via \u003ca href=\"https://www.youtube.com/watch?v=LqG5_Hlkrmo\">surreptitious upload on YouTube\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13905502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">JPEGMAFIA performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>JPEGMafia didn’t water down his weirdness\u003c/h2>\n\u003cp>The last time I saw Peggy was at 2018’s Treasure Island Music Festival, where he played an early slot on a tiny stage to maybe 50 people. And those 50 people were really into it, thrashing and crashing their bodies into each other like football players on the line of scrimmage. At one point Peggy jumped off the stage, started moshing just as hard as his fans, and looked like he was about to fight one of them (his backstage team seemed to talk him out of it).\u003c/p>\n\u003cp>A few more critically acclaimed albums later, and JPEGMafia’s gotten enough clout to score a prominent spot in Friday’s schedule. But even in the major leagues, Peggy’s punk-y, D.I.Y. ethos remains unchanged. If EARTHGANG’s set was stripped down, I’m not sure what to call JPEGMafia’s performance. There was literally nothing besides his MacBook and the man himself on stage. I mean, he had to walk to his laptop between every song to hit play on the next track. After his first song, a rough and unintelligible performance of “Jesus Forgive Me, I am a Thot,” he took a hard look at his computer screen and announced, a little sheepishly: “Sorry, everyone, I had two layers of autotune on.”\u003c/p>\n\u003cp>Not that Peggy’s experimental hip-hop needs an audio slip-up to sound harsh and dissonant. Parts of the audience kept on peeling off with every song, pushed away by the unfriendly sound (this is an artist, after all, that makes “\u003ca href=\"https://www.vice.com/en/article/kzjpka/jpegmafia-explains-why-he-makes-music-to-be-hated\">Music to be Hated\u003c/a>”). Who was left by the end of the set was the faithful Peggy fans, and for them, they wouldn’t have it any other way.\u003c/p>\n\u003cfigure id=\"attachment_13905533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tyler, the Creator embraced his evolution in a powerful closer\u003c/h2>\n\u003cp>The less said about The Strokes, who played Outside Lands like they were their own cover band, the better. Tyler, the Creator was the better headliner of the night; he played a downscaled version of his critically \u003ca href=\"https://www.vulture.com/2021/08/watch-tyler-the-creators-cinematic-lollapalooza-set.html\" target=\"_blank\" rel=\"noopener noreferrer\">acclaimed Lollapalooza set from July\u003c/a>.\u003c/p>\n\u003cp>Like that earlier show, Tyler’s Outside Lands performance was a sentimental look back at his decade-long career, from his beginnings as an scrappy blogazine favorite to his current softboy pop star aesthetic. He dressed the Land’s End stage up in plastic rocks and projected pine trees to look like a lakeside pier, complete with prop speedboat rocking on fake water. It was all very reminiscent of “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw&ab_channel=SoulsOfMischiefVEVO\" target=\"_blank\" rel=\"noopener noreferrer\">93 ’Til Infinity\u003c/a>,” tapping into a Bay Area tradition of flexing on picturesque scenery.\u003c/p>\n\u003cp>Tyler was relaxed and casual during his set, chatting with his audience between tracks. “A lot of you found me through \u003cem>Call Me If You Get Lost\u003c/em>, \u003cem>Igor\u003c/em>, \u003cem>Flower Boy\u003c/em> … but [there was] a time where [people] were cancelling me in real life,” Tyler said, referring to his controversial and \u003ca href=\"https://genius.com/a/tyler-the-creator-says-his-2011-album-goblin-is-horrible-in-hindsight\" target=\"_blank\" rel=\"noopener noreferrer\">now partially disowned early work\u003c/a>. “Can I do songs from that album?”\u003c/p>\n\u003cp>As he went deeper into his back catalog, the scenery on stage got darker, from a sunny day to the evening to a starry night, and finally, during a performance of “She,” to a blank, pitch-black void. It’s a reflection of the complicated relationship that Tyler has with his past persona of a homophobic, misogynist edgelord—he acknowledges that it came from a dark place in his life, but he’s reluctant to distance himself from his breakout hits any further than that.\u003c/p>\n\u003cp>I’m ambivalent about this gambit, but I can acknowledge that Tyler’s stagecraft is setting a high bar. I mean, how many festival sets are artfully composed enough to allow a glimpse into an artist’s psyche? In the end, the sun rises on stage, and Tyler starts performing songs off his latest album, \u003cem>Call Me If You Get Lost\u003c/em>. The message is clear: whatever you think about his past, for Tyler at least, it’s a new day—a fresh start.\u003c/p>\n\u003cfigure id=\"attachment_13905506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905528\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Strokes perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madeline Kenney backstage at Outside Lands on Friday Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moses Sumney performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Van Etten performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905529\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905499\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Glass Animals perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "One Year After MF DOOM’s Death, Bay Area Artists Honor the Legend",
"headTitle": "One Year After MF DOOM’s Death, Bay Area Artists Honor the Legend | KQED",
"content": "\u003cp>On Oct. 31, the one-year anniversary of MF DOOM’s untimely passing, over two dozen Bay Area artists are taking part in “DOOMSDAY,” an art and music festival in the hip-hop artist’s memory.\u003c/p>\n\u003cp>Dozens of artists will set up booths to sell DOOM-inspired art in the parking lot at the corner of 18th and Valencia in San Francisco’s Mission District. Half of the profits from event sales will go to MF DOOM’s estate.\u003c/p>\n\u003cp>Jason Jägel, a Bay Area artist \u003ca href=\"https://www.juxtapoz.com/news/magazine/the-villain-never-dies-jason-jaegel-honors-mf-doom/\" rel=\"noopener noreferrer\" target=\"_blank\">well known for his collaborations with DOOM\u003c/a>, is one of a group of local creatives putting on the event. “You can say very clearly with certain artists in the world: there’s before their existence and there’s after their existence. And the world is never the same once they’ve stepped on the scene. And that’s actually a thousand percent true of DOOM,” says Jägel.\u003c/p>\n\u003cp>In Jägel’s telling, planning for the event began when Alán González, the creative director at \u003cem>Thrasher\u003c/em>, and Ryen Motzek, co-founder of Atlas Skateboards, approached him with their idea for a DOOM tribute show. Jägel agreed, feeling that Bay Area artists would leap at the chance to celebrate DOOM’s legacy.\u003c/p>\n\u003cfigure id=\"attachment_13905469\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/71H363udhGL._SL1500_-1020x1020.jpg\" alt=\"Jason Jagel's cover for MF DOOM's 'MM... Food.'\" width=\"640\" height=\"640\" class=\"size-large wp-image-13905469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jason Jagel’s cover for MF DOOM’s ‘MM… Food.’ \u003ccite>(Rhymesayers Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“MF DOOM is somebody who has inspired a lot of creativity with people, myself included,” says Jägel. “And I think the Bay Area is a place that has wild, wild amounts of creativity. And so for Bay Area artists, I think the idea of creating works that directly benefit the estate was particularly thrilling.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More than 30 artists will participate in the festival. Art available at the festival will include González’s \u003ca href=\"https://www.instagram.com/p/CVk98ImJRER/?utm_medium=copy_link\">DOOM mask throw pillows\u003c/a>, Sun Night Editions’s custom \u003ca href=\"https://www.instagram.com/p/CVQtL9tPAYp/?utm_medium=copy_link\">record sleeves\u003c/a>, and Jay Midnight’s limited edition tribute mixtape \u003ca href=\"https://runtherecord.bandcamp.com/album/supervillain-strikes-again\">Supervillain Strikes Again\u003c/a>, among many, many others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>DOOMSDAY goes down on Sunday, Oct. 31, at 18th and Valencia in San Francisco. \u003ca href=\"https://www.instagram.com/p/CVL54I6lNwD/?utm_medium=copy_link\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Oct. 31, the one-year anniversary of MF DOOM’s untimely passing, over two dozen Bay Area artists are taking part in “DOOMSDAY,” an art and music festival in the hip-hop artist’s memory.\u003c/p>\n\u003cp>Dozens of artists will set up booths to sell DOOM-inspired art in the parking lot at the corner of 18th and Valencia in San Francisco’s Mission District. Half of the profits from event sales will go to MF DOOM’s estate.\u003c/p>\n\u003cp>Jason Jägel, a Bay Area artist \u003ca href=\"https://www.juxtapoz.com/news/magazine/the-villain-never-dies-jason-jaegel-honors-mf-doom/\" rel=\"noopener noreferrer\" target=\"_blank\">well known for his collaborations with DOOM\u003c/a>, is one of a group of local creatives putting on the event. “You can say very clearly with certain artists in the world: there’s before their existence and there’s after their existence. And the world is never the same once they’ve stepped on the scene. And that’s actually a thousand percent true of DOOM,” says Jägel.\u003c/p>\n\u003cp>In Jägel’s telling, planning for the event began when Alán González, the creative director at \u003cem>Thrasher\u003c/em>, and Ryen Motzek, co-founder of Atlas Skateboards, approached him with their idea for a DOOM tribute show. Jägel agreed, feeling that Bay Area artists would leap at the chance to celebrate DOOM’s legacy.\u003c/p>\n\u003cfigure id=\"attachment_13905469\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/71H363udhGL._SL1500_-1020x1020.jpg\" alt=\"Jason Jagel's cover for MF DOOM's 'MM... Food.'\" width=\"640\" height=\"640\" class=\"size-large wp-image-13905469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jason Jagel’s cover for MF DOOM’s ‘MM… Food.’ \u003ccite>(Rhymesayers Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“MF DOOM is somebody who has inspired a lot of creativity with people, myself included,” says Jägel. “And I think the Bay Area is a place that has wild, wild amounts of creativity. And so for Bay Area artists, I think the idea of creating works that directly benefit the estate was particularly thrilling.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than 30 artists will participate in the festival. Art available at the festival will include González’s \u003ca href=\"https://www.instagram.com/p/CVk98ImJRER/?utm_medium=copy_link\">DOOM mask throw pillows\u003c/a>, Sun Night Editions’s custom \u003ca href=\"https://www.instagram.com/p/CVQtL9tPAYp/?utm_medium=copy_link\">record sleeves\u003c/a>, and Jay Midnight’s limited edition tribute mixtape \u003ca href=\"https://runtherecord.bandcamp.com/album/supervillain-strikes-again\">Supervillain Strikes Again\u003c/a>, among many, many others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>DOOMSDAY goes down on Sunday, Oct. 31, at 18th and Valencia in San Francisco. \u003ca href=\"https://www.instagram.com/p/CVL54I6lNwD/?utm_medium=copy_link\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Vietnamese Americans Made San Jose America’s Tofu Capital",
"headTitle": "How Vietnamese Americans Made San Jose America’s Tofu Capital | KQED",
"content": "\u003cfigure id=\"attachment_13905357\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-scaled.jpg\" alt=\"A steamer tray full of freshly fried tofu, as part of a buffet-style display.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Freshly fried tofu is one of the star attractions at Dong Phuong—one of San Jose’s many Vietnamese tofu delis. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ci data-stringify-type=\"italic\">KQED’s \u003c/i>\u003c/em>San Jose: The Bay Area’s Great Immigrant Food City\u003cem>\u003ci data-stringify-type=\"italic\"> is a \u003ca href=\"https://www.kqed.org/sanjosefood\">series of stories\u003c/a> exploring San Jose’s wonderfully diverse immigrant food scene. A new installment will post each weekday from Oct. 20–29. \u003c/i>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]S[/dropcap]an Jose is America’s tofu capital, and nowhere else comes close. Soy milk curds have been strained and pressed in the South Bay since the early 20th century, but it’s not San Jose’s long history with tofu that earns it the title: It’s the diversity, freshness and convenience of the tofu on offer throughout the area in restaurants, supermarkets and an uncommonly large number of dedicated tofu storefronts.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To put San Jose’s embarrassment of bean curd riches in perspective, San Francisco has only one dedicated tofu storefront to its name—Chinatown’s reliably inexpensive Wo Chong. Megacities like Los Angeles or New York might eke out a technical numerical victory, but San Jose comes out on top when calculating tofu wealth on a per capita basis: With its population of a little over one million, the city still manages to sustain a diverse and lucrative soybean scene that can go toe to toe with any place in America. By my count, San Jose is home to at least 10 outlets specializing in fresh tofu, catering to a dedicated clientele of workers looking for a hot snack, home cooks picking up tonight’s dinner and local restaurateurs stocking up on their supply. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tofu in the Bay’s U-bend covers a wide swath of traditions and cultures: At US SoyPresso, Japanese-style tofu pudding is topped with soy milk and sweet beans. At Taiwanese Sogo Tofu, it is deep fried in “biandang” lunchbox-sized pieces. And at Vietnamese Thanh Son Tofu, it can be ordered tucked inside a banh mi. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today, the dominant style of tofu in San Jose is Vietnamese, with a half-dozen strip-mall tofu delicatessens like Thanh Son clustered in a small stretch of San Jose’s heavily Vietnamese East Side, with additional outposts spread out across the city.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13905358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-scaled.jpg\" alt=\"An employee helps a customer with their tofu order at Thanh Son Tofu.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This wasn’t always the case, though. \u003c/span>\u003cspan style=\"font-weight: 400\">As documented in William Shurtleff and Akiko Aoyagi’s exhaustive \u003c/span>\u003ca href=\"https://www.soyinfocenter.com/books/163\">\u003cspan style=\"font-weight: 400\">history of tofu making, \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the first tofu shops in San Jose came with the earliest Japanese American immigrants, who settled in the Santa Clara Valley to work as farm laborers. \u003c/span>\u003cspan style=\"font-weight: 400\">Okumura Tofu-ya, founded in 1906, was the first recorded tofu business in the city. It was located on 6th Street, smack dab in the middle of Japantown, and the neighborhood would have at least one tofu maker or another for more than a hundred years until the last one \u003c/span>\u003ca href=\"https://www.mercurynews.com/2017/12/30/san-jose-tofu-japantowns-gem-closes-its-doors-after-71-years/\">\u003cspan style=\"font-weight: 400\">closed in 2017\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Tofu shops like Okumura spread wherever there were Japanese immigrants in the U.S.; by 1950, at least 425 Japanese tofu businesses had been established throughout the country.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“Megacities like Los Angeles or New York might eke out a technical numerical victory, but San Jose comes out on top when calculating tofu wealth on a per capita basis.”[/pullquote]The Japanese American community’s grip on tofu started loosening in the late 20th century as the population aged and shrunk relative to other Asian American groups. By then, the growth of tofu shops had slowed if not regressed; they had become redundant after the invention of packaged tofu in Los Angeles in the ‘50s, which enabled the ingredient to be sold in supermarkets instead of specialty stores. In some cities, these developments spelled the end of the tofu shop—but in San Jose, they would live on in the hands of a new population that arrived in the city after 1975 in large numbers: Vietnamese immigrants. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the subsequent decades, Vietnamese Americans would create their own kind of tofu shop, one that sells bean curd alongside a wide variety of snacks and drinks in a deli-like format, and usher in a new tofu renaissance in the South Bay. Vietnamese tofu delis now make up the majority of tofu businesses in San Jose. But despite the delis’ omnipresence—it feels like no Vietnamese grocery store in San Jose is complete without a fresh tofu maker nearby—they rarely get the same level of mainstream recognition as other neighborhood institutions like pho restaurants and banh mi takeout joints. Nevertheless, they play just as essential a role in the community and are just as valuable a part of San Jose’s culinary landscape.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905360\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-scaled.jpg\" alt=\"An employee refills a metal display case with freshly fried tofu.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An employee at Thanh Son refills the display case with freshly fried tofu. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the loyal customers these delis serve, the prepackaged stuff sold in grocery stores is no substitute for what their local tofu store can offer. Andrea Nguyen, an authority on Vietnamese cooking and the author of \u003ca href=\"https://www.indiebound.org/book/9781607740254\">an entire book on tofu\u003c/a>, is a longtime customer of tofu delis. “Americans want tofu to be sturdy,” she says about Safeway refrigerator aisle tofu, “whereas the tofu that you buy at an Asian tofu shop, whether that’s Japanese, Chinese or Vietnamese, tends to be more tender because we love that tenderness. That tenderness means that the curds are not as compressed and they suck up flavor.“\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a difference that customers can feel—literally. Nguyen claims it is a Vietnamese American habit to poke at the Saran-wrapped tofu on display to check for quality, “like you’re poking the belly of the Pillsbury Doughboy.” Good Vietnamese tofu should, like a soft cheese, threaten to fall apart into airy curls with the slightest pressure. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The texture is one that many Americans might not be familiar with, as Japanese and Chinese–style firm tofu dominates the grocery aisle. Aside from the creamy kind that’s only used for pudding, Vietnamese bean curd comes in one, ricotta-esque consistency. Vietnamese tofu makers play up this textural quality by using a different process than Japanese and Chinese artisans. Instead of using nigari or gypsum, they use the leftover “whey” from straining the last batch to thicken the soy milk into curds. While it cools, they leave it to set loosely in a bread pan-sized trough instead of, say, subjecting it to the \u003c/span>\u003ca href=\"https://issuu.com/hyphenmagazine/docs/issue21/28\">\u003cspan style=\"font-weight: 400\">wooden press\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of Japanese tofu making. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Andrea Nguyen\"]“Americans want tofu to be sturdy, whereas the tofu that you buy at an Asian tofu shop … tends to be more tender because we love that tenderness.”[/pullquote]This process produces a softer, wispier tofu than rival methods, highlighting the supple mouthfeel that makes the ingredient a desirable addition to Vietnamese soups, stir-fries and noodles. It also doesn’t turn tofu into anything resembling ersatz meat—intentionally so, because Vietnamese cuisine, like most Asian food cultures, doesn’t only treat tofu as a meat substitute. Sometimes tofu can be a velvety complement to the savoriness of meat. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s not just the culinary superiority of the fresh stuff that draws Vietnamese Americans to their tofu delis, says Nguyen. “People like fresh tofu because it’s part of the food traditions. We’re a relatively new immigrant refugee community to America, and there has been so much foodcraft, transported and translated to American soil from Vietnam. We value freshness. We also value the community that forms around that freshness—you feel in touch with your people and your soul when you go to these delis.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905359\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-scaled.jpg\" alt=\"Customers browse a Vietnamese deli's colorful display of snacks and tofu products.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Thanh Son’s tables and counters are piled high with colorful packaged snacks. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]T[/dropcap]hanh Son Tofu, a prominent Vietnamese tofu deli located near Lee’s Supermarket on Senter Road, is a good example of how these stores can be an anchor for the community. The shop has been around for three decades now, according to Anh Nguyen, a member of the family who owns the store. The Thanh Son Nguyens were a traditional tofu making family in Vietnam until the Fall of Saigon, after which they fled their country. Reaching America without anything to their name, they resumed making and selling tofu to their new neighbors in Southern California’s Orange County through the ‘70s and ‘80s. Eventually, they saved enough capital to open their first storefront in Westminster’s Little Saigon in the ‘90s—and that operation was successful enough that a cousin who lived in San Jose wanted to open a Northern California location with the same name.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today, Thanh Son is one of the busiest tofu delis in the neighborhood. The storefront, spacious and buzzing with commotion, sports stainless steel counters and see-through refrigerators packed with green-tinted pandan soy milk, golden fried tofu, yuba sheets rolled up in an imitation of chả lụa ham and soy pudding with bright noodles of fruit jelly. A long line of customers wraps around the counters. They point at their preferred soybean product behind the glass, the staff bags it up, and then they head to the register to pay and receive their gelatinous treats. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s no accident that Thanh Son does brisk business. Tofu this fresh doesn’t last more than a few days in a refrigerator, so customers need to come back regularly for their fix. That also means the store needs to refresh its stock regularly, so the staff makes most of its inventory from scratch every morning—all of which will be gone by the afternoon. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The store also sells a wide variety of packaged snacks and goodies like bánh bèo (shrimp-dusted rice cakes), nem chua (tangy rolls of raw fermented pork) and bánh bò nướng (pandan-flavored “honeycomb” cakes)—some made by Thanh Son staff, some sourced from smaller local producers, but all very addictive. These snacks are piled up on every available inch of counter and shelf space, giving the deli a lively, market hall feel. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905361\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905361\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-scaled.jpg\" alt=\"Packages of green and white sponge cake lined up on a tabletop.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A display of bánh bò—a sweet, chewy Vietnamese sponge cake—at Thanh Son. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s the kind of store that can be found all over Vietnamese American enclaves, from Houston to Los Angeles, but, crucially, not in Vietnam. These delis are uniquely a diaspora phenomenon. “When I have seen tofu vendors in Vietnam, they’re just selling tofu, sometimes soy milk, too. But the whole thing about these delis serving other dishes and having a menu, that’s the next level of Vietnamese American-ness,” says Andrea Nguyen, the cookbook author. The fusion of the Vietnamese tofu market stall with the German-Jewish-American delicatessen is an adaptation of one shopping culture to another, a synthesis encouraged along by the generous real estate of the California strip mall. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thanh Son isn’t the only kind of Vietnamese tofu deli that’s out there. Some, like Binh Minh (1180 Tully Road) or \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13904913/vietnamese-drinks-boba-che-guide-san-jose\">\u003cspan style=\"font-weight: 400\">Hung Vuong\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (1741 Berryessa Road), serve only vegetarian food, in accordance with a Buddhist monk’s diet. Not all Vietnamese Buddhists are vegetarian, but many do observe a vegetarian diet on occasion as an act of religious piety. These Buddhist delis have a slightly different format than their non-vegetarian peers, with a greater focus on hot prepared meals and, of course, the presence of lots of Buddhist tchotchkes on sale. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905362\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-scaled.jpg\" alt=\"A Buddha statue is displayed prominently inside a Vietnamese deli.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A Buddha statue is displayed prominently inside Dong Phuong’s McKee Road shopping center location. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dong Phuong Tofu is a longstanding example of this alternative format; it has stood across from Lion Market in the heart of San Jose’s Little Saigon for almost two decades. There are meditation CDs and Buddhist scripture posters for sale at the doorway, and a small selection of specialty groceries like vegetarian fish sauce and pork floss displayed on a wooden island in the middle of the store. At the front, hungry patrons dawdle trying to decide between the two dozen dishes in the hot food counter tubs as well as everything else on the large menu of made-to-order food tacked up on the wall. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The star attractions are the meatless stir-fries, rice noodles and other mealtime staples at the hot food counter. The staff at Dong Phuong make the tofu for these dishes on site, which gives its lemongrass tofu, for example, a springy chew that other restaurants can’t pull off. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“In a lopsided American food system that gives artisanal food to the rich and the processed scraps to the poor, fresh tofu is the rare luxury that remains stubbornly affordable.”[/pullquote]While some vegetarian diets, like those of brahminical Hindus or white American hippies, shy away from the close imitation of meat, East Asian vegetarianism doesn’t have such scruples. Some of the double-take-inducing dishes on display at the hot counter include seitan “fish” battered, deep fried and coated in a brown sauce, as well as a pork belly clay pot where the “belly” has convincing stripes of konjac jelly “fat.” Some of the seitan is made in the kitchen, but the most convincing meat substitutes are sourced from specialized Asian fake-meat producers, who have been operating on the continent long before the Impossible Burger was an idea in a Stanford biochemist’s head.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The quick service counter at delis such as Dong Phuong plug an important hole in the market, providing convenient and tasty meals at a price better than sit-down vegetarian places like Green Lotus, which is just across the street. Plus the quality of the food doesn’t suffer despite sitting out for most of the day: Tofu and seitan dishes only suck up more flavor during a long marination time. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905363\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905363\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-scaled.jpg\" alt=\"Two customers browse the display of goods inside a Vietnamese deil.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Customers browse a small display of grocery items at Dong Phuong. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]O[/dropcap]n a recent Saturday, I visited both Thanh Son and Dong Phuong to assemble a three-course, under $20, all-tofu lunch, with the former providing an appetizer (fried tofu) and dessert (ginger tofu pudding), and the latter providing the entree (lemongrass tofu with rice noodles). Afterwards, I sat on the lip of the Grand Century mall fountain, set out my assorted tofu, and thought about how lucky the neighborhood is to have this abundance. In a lopsided American food system that gives artisanal food to the rich and the processed scraps to the poor, fresh tofu is the rare luxury that remains stubbornly affordable, able to be enjoyed by all. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I ate, I couldn’t stop thinking of the melancholy note on which my conversation with Nguyen ended: “I think that we take for granted what is available in these enclaves,” she mused. “Because I think, my God, how lucky are we to be in America and be standing here, waiting in line to buy this tofu that’s been freshly made. It’s not the same as going to buy it on a wet market in Vietnam, but gosh darn it, it’s a very similar experience. I think about the many depths of these experiences. And I said to myself: How fucking lucky am I? How long is that going to last?“\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13905153,arts_13904913,arts_13905230' label='More San Jose Food']Nguyen points out that young Vietnamese Americans usually aren’t the ones behind the register at these tofu shops, but an older generation of first wave immigrants. She’s worried that the graying of the community might spell an end for the tofu. There’s some precedent for this in San Jose: The last tofu maker in Japantown, San Jose Tofu Company, \u003c/span>\u003ca href=\"https://www.mercurynews.com/2017/12/30/san-jose-tofu-japantowns-gem-closes-its-doors-after-71-years/\">\u003cspan style=\"font-weight: 400\">closed\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> three years ago after the retirement of its owners. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But perhaps tofu will survive in San Jose like it always has. Hodo Soy, the buzzy, high-end tofu factory now based in Oakland, got its start in the South Bay. The company is owned by Minh Tsai, whose parents would bring him to traditional tofu stands in Vietnam when he was a child. Tsai started making the product for his new brand at Sogo Tofu, San Jose’s only Taiwanese tofu makers, and his dense style of tofu still betrays a strong Chinese influence. And when it came time to introduce his line to a wider audience, he opted for Japanese terminology, like “yuba” for tofu skins. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe the next generation of South Bay tofu entrepreneurs will be more like Tsai: multicultural in emphasis, reflecting the diverse history of tofu making in San Jose itself. Still, what’s lost \u003c/span>\u003ca href=\"https://www.bloomberg.com/news/articles/2018-08-23/the-california-startup-selling-america-on-tofu\">\u003cspan style=\"font-weight: 400\">in the hype\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is that companies like Hodo stand on the shoulders of the humble strip mall tofu shops, which have been making fresh bean curd with care and sophistication, and with little fanfare, long before mainstream America deemed the product worthy of fine-dining menus. Let’s keep their memory alive, too.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Correction: This article originally stated that Minh Tsai’s father was a tofu maker. He was not.\u003c/em>\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>\u003cem>Adesh Thapliyal is KQED Arts’ Editorial Intern. Previously, he wrote for the experimental newsletter \u003c/em>Tone Glow\u003cem> and the pop music blog \u003c/em>The Singles Jukebox\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mai Ly and Truc Tran provided interpretation for this story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13905357\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-scaled.jpg\" alt=\"A steamer tray full of freshly fried tofu, as part of a buffet-style display.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_DongPhuong_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Freshly fried tofu is one of the star attractions at Dong Phuong—one of San Jose’s many Vietnamese tofu delis. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ci data-stringify-type=\"italic\">KQED’s \u003c/i>\u003c/em>San Jose: The Bay Area’s Great Immigrant Food City\u003cem>\u003ci data-stringify-type=\"italic\"> is a \u003ca href=\"https://www.kqed.org/sanjosefood\">series of stories\u003c/a> exploring San Jose’s wonderfully diverse immigrant food scene. A new installment will post each weekday from Oct. 20–29. \u003c/i>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>an Jose is America’s tofu capital, and nowhere else comes close. Soy milk curds have been strained and pressed in the South Bay since the early 20th century, but it’s not San Jose’s long history with tofu that earns it the title: It’s the diversity, freshness and convenience of the tofu on offer throughout the area in restaurants, supermarkets and an uncommonly large number of dedicated tofu storefronts.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To put San Jose’s embarrassment of bean curd riches in perspective, San Francisco has only one dedicated tofu storefront to its name—Chinatown’s reliably inexpensive Wo Chong. Megacities like Los Angeles or New York might eke out a technical numerical victory, but San Jose comes out on top when calculating tofu wealth on a per capita basis: With its population of a little over one million, the city still manages to sustain a diverse and lucrative soybean scene that can go toe to toe with any place in America. By my count, San Jose is home to at least 10 outlets specializing in fresh tofu, catering to a dedicated clientele of workers looking for a hot snack, home cooks picking up tonight’s dinner and local restaurateurs stocking up on their supply. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tofu in the Bay’s U-bend covers a wide swath of traditions and cultures: At US SoyPresso, Japanese-style tofu pudding is topped with soy milk and sweet beans. At Taiwanese Sogo Tofu, it is deep fried in “biandang” lunchbox-sized pieces. And at Vietnamese Thanh Son Tofu, it can be ordered tucked inside a banh mi. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today, the dominant style of tofu in San Jose is Vietnamese, with a half-dozen strip-mall tofu delicatessens like Thanh Son clustered in a small stretch of San Jose’s heavily Vietnamese East Side, with additional outposts spread out across the city.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13905358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-scaled.jpg\" alt=\"An employee helps a customer with their tofu order at Thanh Son Tofu.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/011_SanJose_ThanhSonTofu_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This wasn’t always the case, though. \u003c/span>\u003cspan style=\"font-weight: 400\">As documented in William Shurtleff and Akiko Aoyagi’s exhaustive \u003c/span>\u003ca href=\"https://www.soyinfocenter.com/books/163\">\u003cspan style=\"font-weight: 400\">history of tofu making, \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the first tofu shops in San Jose came with the earliest Japanese American immigrants, who settled in the Santa Clara Valley to work as farm laborers. \u003c/span>\u003cspan style=\"font-weight: 400\">Okumura Tofu-ya, founded in 1906, was the first recorded tofu business in the city. It was located on 6th Street, smack dab in the middle of Japantown, and the neighborhood would have at least one tofu maker or another for more than a hundred years until the last one \u003c/span>\u003ca href=\"https://www.mercurynews.com/2017/12/30/san-jose-tofu-japantowns-gem-closes-its-doors-after-71-years/\">\u003cspan style=\"font-weight: 400\">closed in 2017\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Tofu shops like Okumura spread wherever there were Japanese immigrants in the U.S.; by 1950, at least 425 Japanese tofu businesses had been established throughout the country.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“Megacities like Los Angeles or New York might eke out a technical numerical victory, but San Jose comes out on top when calculating tofu wealth on a per capita basis.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Japanese American community’s grip on tofu started loosening in the late 20th century as the population aged and shrunk relative to other Asian American groups. By then, the growth of tofu shops had slowed if not regressed; they had become redundant after the invention of packaged tofu in Los Angeles in the ‘50s, which enabled the ingredient to be sold in supermarkets instead of specialty stores. In some cities, these developments spelled the end of the tofu shop—but in San Jose, they would live on in the hands of a new population that arrived in the city after 1975 in large numbers: Vietnamese immigrants. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the subsequent decades, Vietnamese Americans would create their own kind of tofu shop, one that sells bean curd alongside a wide variety of snacks and drinks in a deli-like format, and usher in a new tofu renaissance in the South Bay. Vietnamese tofu delis now make up the majority of tofu businesses in San Jose. But despite the delis’ omnipresence—it feels like no Vietnamese grocery store in San Jose is complete without a fresh tofu maker nearby—they rarely get the same level of mainstream recognition as other neighborhood institutions like pho restaurants and banh mi takeout joints. Nevertheless, they play just as essential a role in the community and are just as valuable a part of San Jose’s culinary landscape.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905360\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-scaled.jpg\" alt=\"An employee refills a metal display case with freshly fried tofu.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/009_SanJose_ThanhSonTofu_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An employee at Thanh Son refills the display case with freshly fried tofu. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the loyal customers these delis serve, the prepackaged stuff sold in grocery stores is no substitute for what their local tofu store can offer. Andrea Nguyen, an authority on Vietnamese cooking and the author of \u003ca href=\"https://www.indiebound.org/book/9781607740254\">an entire book on tofu\u003c/a>, is a longtime customer of tofu delis. “Americans want tofu to be sturdy,” she says about Safeway refrigerator aisle tofu, “whereas the tofu that you buy at an Asian tofu shop, whether that’s Japanese, Chinese or Vietnamese, tends to be more tender because we love that tenderness. That tenderness means that the curds are not as compressed and they suck up flavor.“\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a difference that customers can feel—literally. Nguyen claims it is a Vietnamese American habit to poke at the Saran-wrapped tofu on display to check for quality, “like you’re poking the belly of the Pillsbury Doughboy.” Good Vietnamese tofu should, like a soft cheese, threaten to fall apart into airy curls with the slightest pressure. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The texture is one that many Americans might not be familiar with, as Japanese and Chinese–style firm tofu dominates the grocery aisle. Aside from the creamy kind that’s only used for pudding, Vietnamese bean curd comes in one, ricotta-esque consistency. Vietnamese tofu makers play up this textural quality by using a different process than Japanese and Chinese artisans. Instead of using nigari or gypsum, they use the leftover “whey” from straining the last batch to thicken the soy milk into curds. While it cools, they leave it to set loosely in a bread pan-sized trough instead of, say, subjecting it to the \u003c/span>\u003ca href=\"https://issuu.com/hyphenmagazine/docs/issue21/28\">\u003cspan style=\"font-weight: 400\">wooden press\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of Japanese tofu making. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This process produces a softer, wispier tofu than rival methods, highlighting the supple mouthfeel that makes the ingredient a desirable addition to Vietnamese soups, stir-fries and noodles. It also doesn’t turn tofu into anything resembling ersatz meat—intentionally so, because Vietnamese cuisine, like most Asian food cultures, doesn’t only treat tofu as a meat substitute. Sometimes tofu can be a velvety complement to the savoriness of meat. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s not just the culinary superiority of the fresh stuff that draws Vietnamese Americans to their tofu delis, says Nguyen. “People like fresh tofu because it’s part of the food traditions. We’re a relatively new immigrant refugee community to America, and there has been so much foodcraft, transported and translated to American soil from Vietnam. We value freshness. We also value the community that forms around that freshness—you feel in touch with your people and your soul when you go to these delis.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905359\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-scaled.jpg\" alt=\"Customers browse a Vietnamese deli's colorful display of snacks and tofu products.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_ThanhSonTofu_10072021-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Thanh Son’s tables and counters are piled high with colorful packaged snacks. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hanh Son Tofu, a prominent Vietnamese tofu deli located near Lee’s Supermarket on Senter Road, is a good example of how these stores can be an anchor for the community. The shop has been around for three decades now, according to Anh Nguyen, a member of the family who owns the store. The Thanh Son Nguyens were a traditional tofu making family in Vietnam until the Fall of Saigon, after which they fled their country. Reaching America without anything to their name, they resumed making and selling tofu to their new neighbors in Southern California’s Orange County through the ‘70s and ‘80s. Eventually, they saved enough capital to open their first storefront in Westminster’s Little Saigon in the ‘90s—and that operation was successful enough that a cousin who lived in San Jose wanted to open a Northern California location with the same name.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today, Thanh Son is one of the busiest tofu delis in the neighborhood. The storefront, spacious and buzzing with commotion, sports stainless steel counters and see-through refrigerators packed with green-tinted pandan soy milk, golden fried tofu, yuba sheets rolled up in an imitation of chả lụa ham and soy pudding with bright noodles of fruit jelly. A long line of customers wraps around the counters. They point at their preferred soybean product behind the glass, the staff bags it up, and then they head to the register to pay and receive their gelatinous treats. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s no accident that Thanh Son does brisk business. Tofu this fresh doesn’t last more than a few days in a refrigerator, so customers need to come back regularly for their fix. That also means the store needs to refresh its stock regularly, so the staff makes most of its inventory from scratch every morning—all of which will be gone by the afternoon. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The store also sells a wide variety of packaged snacks and goodies like bánh bèo (shrimp-dusted rice cakes), nem chua (tangy rolls of raw fermented pork) and bánh bò nướng (pandan-flavored “honeycomb” cakes)—some made by Thanh Son staff, some sourced from smaller local producers, but all very addictive. These snacks are piled up on every available inch of counter and shelf space, giving the deli a lively, market hall feel. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905361\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905361\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-scaled.jpg\" alt=\"Packages of green and white sponge cake lined up on a tabletop.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/001_SanJose_ThanhSonTofu_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A display of bánh bò—a sweet, chewy Vietnamese sponge cake—at Thanh Son. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s the kind of store that can be found all over Vietnamese American enclaves, from Houston to Los Angeles, but, crucially, not in Vietnam. These delis are uniquely a diaspora phenomenon. “When I have seen tofu vendors in Vietnam, they’re just selling tofu, sometimes soy milk, too. But the whole thing about these delis serving other dishes and having a menu, that’s the next level of Vietnamese American-ness,” says Andrea Nguyen, the cookbook author. The fusion of the Vietnamese tofu market stall with the German-Jewish-American delicatessen is an adaptation of one shopping culture to another, a synthesis encouraged along by the generous real estate of the California strip mall. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thanh Son isn’t the only kind of Vietnamese tofu deli that’s out there. Some, like Binh Minh (1180 Tully Road) or \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13904913/vietnamese-drinks-boba-che-guide-san-jose\">\u003cspan style=\"font-weight: 400\">Hung Vuong\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (1741 Berryessa Road), serve only vegetarian food, in accordance with a Buddhist monk’s diet. Not all Vietnamese Buddhists are vegetarian, but many do observe a vegetarian diet on occasion as an act of religious piety. These Buddhist delis have a slightly different format than their non-vegetarian peers, with a greater focus on hot prepared meals and, of course, the presence of lots of Buddhist tchotchkes on sale. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905362\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-scaled.jpg\" alt=\"A Buddha statue is displayed prominently inside a Vietnamese deli.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/007_SanJose_DongPhuong_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A Buddha statue is displayed prominently inside Dong Phuong’s McKee Road shopping center location. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dong Phuong Tofu is a longstanding example of this alternative format; it has stood across from Lion Market in the heart of San Jose’s Little Saigon for almost two decades. There are meditation CDs and Buddhist scripture posters for sale at the doorway, and a small selection of specialty groceries like vegetarian fish sauce and pork floss displayed on a wooden island in the middle of the store. At the front, hungry patrons dawdle trying to decide between the two dozen dishes in the hot food counter tubs as well as everything else on the large menu of made-to-order food tacked up on the wall. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The star attractions are the meatless stir-fries, rice noodles and other mealtime staples at the hot food counter. The staff at Dong Phuong make the tofu for these dishes on site, which gives its lemongrass tofu, for example, a springy chew that other restaurants can’t pull off. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“In a lopsided American food system that gives artisanal food to the rich and the processed scraps to the poor, fresh tofu is the rare luxury that remains stubbornly affordable.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While some vegetarian diets, like those of brahminical Hindus or white American hippies, shy away from the close imitation of meat, East Asian vegetarianism doesn’t have such scruples. Some of the double-take-inducing dishes on display at the hot counter include seitan “fish” battered, deep fried and coated in a brown sauce, as well as a pork belly clay pot where the “belly” has convincing stripes of konjac jelly “fat.” Some of the seitan is made in the kitchen, but the most convincing meat substitutes are sourced from specialized Asian fake-meat producers, who have been operating on the continent long before the Impossible Burger was an idea in a Stanford biochemist’s head.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The quick service counter at delis such as Dong Phuong plug an important hole in the market, providing convenient and tasty meals at a price better than sit-down vegetarian places like Green Lotus, which is just across the street. Plus the quality of the food doesn’t suffer despite sitting out for most of the day: Tofu and seitan dishes only suck up more flavor during a long marination time. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905363\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905363\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-scaled.jpg\" alt=\"Two customers browse the display of goods inside a Vietnamese deil.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/013_SanJose_DongPhuong_10072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Customers browse a small display of grocery items at Dong Phuong. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n a recent Saturday, I visited both Thanh Son and Dong Phuong to assemble a three-course, under $20, all-tofu lunch, with the former providing an appetizer (fried tofu) and dessert (ginger tofu pudding), and the latter providing the entree (lemongrass tofu with rice noodles). Afterwards, I sat on the lip of the Grand Century mall fountain, set out my assorted tofu, and thought about how lucky the neighborhood is to have this abundance. In a lopsided American food system that gives artisanal food to the rich and the processed scraps to the poor, fresh tofu is the rare luxury that remains stubbornly affordable, able to be enjoyed by all. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I ate, I couldn’t stop thinking of the melancholy note on which my conversation with Nguyen ended: “I think that we take for granted what is available in these enclaves,” she mused. “Because I think, my God, how lucky are we to be in America and be standing here, waiting in line to buy this tofu that’s been freshly made. It’s not the same as going to buy it on a wet market in Vietnam, but gosh darn it, it’s a very similar experience. I think about the many depths of these experiences. And I said to myself: How fucking lucky am I? How long is that going to last?“\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nguyen points out that young Vietnamese Americans usually aren’t the ones behind the register at these tofu shops, but an older generation of first wave immigrants. She’s worried that the graying of the community might spell an end for the tofu. There’s some precedent for this in San Jose: The last tofu maker in Japantown, San Jose Tofu Company, \u003c/span>\u003ca href=\"https://www.mercurynews.com/2017/12/30/san-jose-tofu-japantowns-gem-closes-its-doors-after-71-years/\">\u003cspan style=\"font-weight: 400\">closed\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> three years ago after the retirement of its owners. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But perhaps tofu will survive in San Jose like it always has. Hodo Soy, the buzzy, high-end tofu factory now based in Oakland, got its start in the South Bay. The company is owned by Minh Tsai, whose parents would bring him to traditional tofu stands in Vietnam when he was a child. Tsai started making the product for his new brand at Sogo Tofu, San Jose’s only Taiwanese tofu makers, and his dense style of tofu still betrays a strong Chinese influence. And when it came time to introduce his line to a wider audience, he opted for Japanese terminology, like “yuba” for tofu skins. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe the next generation of South Bay tofu entrepreneurs will be more like Tsai: multicultural in emphasis, reflecting the diverse history of tofu making in San Jose itself. Still, what’s lost \u003c/span>\u003ca href=\"https://www.bloomberg.com/news/articles/2018-08-23/the-california-startup-selling-america-on-tofu\">\u003cspan style=\"font-weight: 400\">in the hype\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is that companies like Hodo stand on the shoulders of the humble strip mall tofu shops, which have been making fresh bean curd with care and sophistication, and with little fanfare, long before mainstream America deemed the product worthy of fine-dining menus. Let’s keep their memory alive, too.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Correction: This article originally stated that Minh Tsai’s father was a tofu maker. He was not.\u003c/em>\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>\u003cem>Adesh Thapliyal is KQED Arts’ Editorial Intern. Previously, he wrote for the experimental newsletter \u003c/em>Tone Glow\u003cem> and the pop music blog \u003c/em>The Singles Jukebox\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mai Ly and Truc Tran provided interpretation for this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Free Noise Pop Block Party Brings Street Food and Soul",
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"content": "\u003cp>Noise Pop’s spinoff block party returns this Saturday, Oct. 16, from a 2020 hiatus to its usual spot in the Mission, a quiet, residential stretch of blocks between Harrison and Bryant on 20th Street. As in previous incarnations of the street festival, it features a local lineup and low-key scope that distinguishes it from the Noise Pop festival proper.\u003c/p>\n\u003cp>This year’s musical acts includes longtime San Francisco live music favorites \u003ca href=\"https://www.kqed.org/arts/13901935/con-brios-ziek-mccarter-and-his-family-create-a-healing-garden-for-grief\" target=\"_blank\" rel=\"noopener noreferrer\">Con Brio\u003c/a>, known for their soul revivalism and high-energy performances, and Louda y Los Bad Hombres, a punky roots act with song titles like “Dejanos en paz, capitalistas.” The rest of the roster is rounded out by indie bands from the Bay Area (French Cassettes, \u003ca href=\"https://www.kqed.org/arts/13869819/bay-area-indie-rock-isnt-what-it-used-to-be-and-thats-a-good-thing\" target=\"_blank\" rel=\"noopener noreferrer\">Same Girls\u003c/a>, Strange Cities) and on the West Coast (SoCal’s L.A. Witch, Portland’s Y La Bamba). [aside postid='arts_13904220']\u003c/p>\n\u003cp>It wouldn’t be the 20th Street Block Party without a well-chosen line up of buzzy food pop-ups, and this year’s selection is curated by women of color-focused food business incubator \u003ca href=\"https://www.kqed.org/arts/13895067/la-cocina-municipal-marketplace-food-hall-opening-tenderloin\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a>. Beloved momo stand Bini’s Kitchen, Jamaican pastry vendor Peaches Patties and Oaxacan cuisine outpost Origen are all slated to set up shop.\u003c/p>\n\u003cp>While the festival is free, attendees are encouraged to make a donation at the gate to benefit children’s education nonprofit 826 Valencia.\u003c/p>\n\u003cp>In a concession to the pandemic, visitors are required to make a reservation online before attending. Noise Pop, in a statement, says that they will follow the San Francisco Department of Public Health’s guidelines, which currently do not require masking or the verification of vaccination cards for outdoor events.\u003c/p>\n\u003cp>\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\">\u003cbr>\n\u003cem>The 20th St Block Party pops off on Saturday, Oct. 16. \u003ca href=\"https://www.eventbrite.com/e/noise-pops-20th-street-block-party-free-tickets-157093694469\">Reserve your spot here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Noise Pop’s spinoff block party returns this Saturday, Oct. 16, from a 2020 hiatus to its usual spot in the Mission, a quiet, residential stretch of blocks between Harrison and Bryant on 20th Street. As in previous incarnations of the street festival, it features a local lineup and low-key scope that distinguishes it from the Noise Pop festival proper.\u003c/p>\n\u003cp>This year’s musical acts includes longtime San Francisco live music favorites \u003ca href=\"https://www.kqed.org/arts/13901935/con-brios-ziek-mccarter-and-his-family-create-a-healing-garden-for-grief\" target=\"_blank\" rel=\"noopener noreferrer\">Con Brio\u003c/a>, known for their soul revivalism and high-energy performances, and Louda y Los Bad Hombres, a punky roots act with song titles like “Dejanos en paz, capitalistas.” The rest of the roster is rounded out by indie bands from the Bay Area (French Cassettes, \u003ca href=\"https://www.kqed.org/arts/13869819/bay-area-indie-rock-isnt-what-it-used-to-be-and-thats-a-good-thing\" target=\"_blank\" rel=\"noopener noreferrer\">Same Girls\u003c/a>, Strange Cities) and on the West Coast (SoCal’s L.A. Witch, Portland’s Y La Bamba). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wouldn’t be the 20th Street Block Party without a well-chosen line up of buzzy food pop-ups, and this year’s selection is curated by women of color-focused food business incubator \u003ca href=\"https://www.kqed.org/arts/13895067/la-cocina-municipal-marketplace-food-hall-opening-tenderloin\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a>. Beloved momo stand Bini’s Kitchen, Jamaican pastry vendor Peaches Patties and Oaxacan cuisine outpost Origen are all slated to set up shop.\u003c/p>\n\u003cp>While the festival is free, attendees are encouraged to make a donation at the gate to benefit children’s education nonprofit 826 Valencia.\u003c/p>\n\u003cp>In a concession to the pandemic, visitors are required to make a reservation online before attending. Noise Pop, in a statement, says that they will follow the San Francisco Department of Public Health’s guidelines, which currently do not require masking or the verification of vaccination cards for outdoor events.\u003c/p>\n\u003cp>\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\">\u003cbr>\n\u003cem>The 20th St Block Party pops off on Saturday, Oct. 16. \u003ca href=\"https://www.eventbrite.com/e/noise-pops-20th-street-block-party-free-tickets-157093694469\">Reserve your spot here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Yolanda López Changed Chicanx Art Forever",
"headTitle": "How Yolanda López Changed Chicanx Art Forever | KQED",
"content": "\u003cp>Yolanda López, the celebrated Chicana artist and longtime Mission District resident, pioneered new representations of the Chicanx community throughout decades of work in painting, photography and graphic design. Reproductions of her images became iconic symbols of the Chicano movement, in accordance with her belief that art should serve the people.\u003c/p>\n\u003cp>She died from complications of liver cancer on Sept. 3 at age 79.\u003c/p>\n\u003cp>“Yolanda was a critical thinker. Outrageously brilliant and revolutionary feminist. Outstanding public intellectual. Painter, draftswoman, installation artist, writer, illustrator, political activist,” says Juana Alicia, an artist and one of Lopez’s close friends.\u003c/p>\n\u003cp>Born in San Diego to a working-class family, López moved to the Bay Area for college in the ’60s, and spent the rest of the decade participating in the social justice movements that rocked the nation. In the Mission, she became involved with the Third World Liberation Front’s fight for ethnic studies departments and the Los Siete movement’s agitation for the release of seven Chicano men accused of killing a white police officer.[aside postID='arts_12158966']\u003c/p>\n\u003cp>Her political awakening was also her artistic awakening: she learned how to create punchy images from Emory Douglas, the Black Panther Party’s Minister of Culture, and pressed her talent into service by illustrating \u003cem>¡Basta Ya!\u003c/em>, a radical Mission community newspaper.\u003c/p>\n\u003cfigure id=\"attachment_13903269\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg\" alt=\"A black-and-white print with faces seen through stripes of American flag.\" width=\"1736\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-800x1180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1020x1504.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-768x1133.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1041x1536.jpg 1041w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1389x2048.jpg 1389w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1920x2832.jpg 1920w\" sizes=\"(max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Free Los Siete,’ 1969. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the mid-’70s, feeling burnt out and alienated from activism, López enrolled in a MFA program at the University of California, San Diego, where she would have the time and resources to make her most famous work. Under the influence of conceptual artist professors like Martha Rosler and Allan Sekula, López began to incorporate and repurpose images drawn from popular culture for political purposes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One example of her mature style was \u003cem>Who’s the Illegal Alien, Pilgrim?\u003c/em> The poster, originally commissioned by the Committee on Chicano Rights, depicts a Chicano man in Aztec garb holding immigration papers in one hand and pointing at the viewer with the other, in an ironic mirroring of Uncle Sam’s famous pose.\u003c/p>\n\u003cp>Ani Rivera, the executive director of Latinx-centered art gallery Galería de la Raza, recalls seeing that poster reproduced and plastered on the wall of her elementary school in San Diego. “I remember seeing that and completely having a visceral reaction. Growing up during Reaganomics, during the harsh political rhetoric impacting our community … to see an image of power [like that] … it just lit up my belly,” Rivera says. “It was a moment of finding my voice, of learning I could demand the same and question.”\u003c/p>\n\u003cfigure id=\"attachment_13903268\" class=\"wp-caption aligncenter\" style=\"max-width: 1672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/9.Illegal_Alien.jpg\" alt=\"\" width=\"1672\" height=\"2100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien.jpg 1672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-800x1005.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1020x1281.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-768x965.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1223x1536.jpg 1223w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1631x2048.jpg 1631w\" sizes=\"(max-width: 1672px) 100vw, 1672px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Who’s the Illegal Alien, Pilgrim?,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López’s most provocative and renowned body of work, however, was her exploration of the Virgin of Guadalupe figure.\u003c/p>\n\u003cp>The artist explained what drew her to the Virgin in a 1993 interview for the journal \u003cem>CrossRoads\u003c/em>: “In 1978 there were no images of Latinos and Chicanos in mass media. As for movement media, the Virgin of Guadalupe was the most prevalent, continuous image of women (whereas there was a variety of male images—César Chávez, Zapata, a pantheon of male figures).”\u003c/p>\n\u003cp>To examine how the image portrayed and confined Chicana femininity, she painted three large canvases depicting the Virgin as herself, her mother and her grandmother. It was the first painting, depicting López running in the Virgin’s garments, that became, according to Museum of Contemporary Art San Diego curator Jill Dawsey, “one of the most widely reproduced and circulated images in the history of Chicanx art.”\u003c/p>\n\u003cfigure id=\"attachment_13903270\" class=\"wp-caption aligncenter\" style=\"max-width: 1906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/3.L%C3%B3pez_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg\" alt=\"\" width=\"1906\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg 1906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-800x1075.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1020x1370.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-768x1032.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1144x1536.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1525x2048.jpg 1525w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1920x2579.jpg 1920w\" sizes=\"(max-width: 1906px) 100vw, 1906px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Portrait of the Artist as Virgin of Guadalupe,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López, along with \u003ca href=\"https://patssivaldez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Patssi Valdez\u003c/a> and \u003ca href=\"https://esterhernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ester Hernandez\u003c/a>, was one of the earliest Chicana artists to reclaim the Virgin as a feminist symbol. The Virgin’s heavy robes, which usually seem to weigh her down, are cut at the knee, allowing her to leap out of her mandorla and shake off the male angel at her feet.\u003c/p>\n\u003cp>Asked in 2007 by Chicana/o studies professor Karen Mary Davalos why that piece in particular became a touchstone for generations of Chicana activists, López mused, “Because it’s exuberant, and I don’t think there are many exuberant pictures of us within the Chicano visual library.”\u003c/p>\n\u003cp>After the completion of her MFA degree, López returned to the Bay Area in the ’80s, teaching at the UC Berkeley, Mills College and California College of the Arts, and regularly exhibiting her work in group shows and the Mission’s Galería de la Raza.\u003c/p>\n\u003cp>After the birth of her son with fellow artist \u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\" target=\"_blank\" rel=\"noopener noreferrer\">René Yañez\u003c/a>, she turned away from painting—she had limited time as a working mother—and towards photography, performances and large-scale installation. Works from this time period include \u003cem>Things I Never Told My Son About Being a Mexican\u003c/em>, an installation of found children’s objects with stereotypical depictions of Mexican people on them, and the \u003cem>Life in the Mission\u003c/em> series, a collection of photographs of daily life in her neighborhood.\u003c/p>\n\u003cp>[aside postID='arts_10138520']Her dedication to politically charged art never abated. She captured headlines in 2014 when she turned her eviction from her Mission apartment of 40 years into “garage sale” performances-slash-protests held at Galería and Red Poppy Art House. (Galería de la Raza itself \u003ca href=\"https://missionlocal.org/2018/12/evicted-galeria-de-la-raza-lands-on-valencia-street/\">was evicted\u003c/a> from its longtime building in 2018.)\u003c/p>\n\u003cp>Despite her long career as a major Chicana artist, López was only irregularly acknowledged by the art world at large. Her upcoming exhibition at the Museum of Contemporary Art San Diego, \u003cem>\u003ca href=\"https://www.mcasd.org/exhibitions/yolanda-l%C3%B3pez-portrait-artist\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López: Portrait of the Artist\u003c/a>\u003c/em>, is the first solo museum exhibition of her work in her entire career.\u003c/p>\n\u003cp>“It took almost five decades to get this type of recognition of her work that she fought for,” says Rivera. “She nurtured so many of us. That’s why organizations like the Galería were created, we felt that we needed to create spaces that celebrated and honored alternative voices. The fact that it’s taken this long to have major museums open up their doors is just atrocious.”\u003c/p>\n\u003cp>Dawsey, the curator behind \u003cem>Portrait of the Artist\u003c/em>, says, “Yolanda was ignored by [the institutional art] world, but she also didn’t seek approval from that world. Her primary audience was always the Chicanx community … she was first and foremost committed to her politics.”\u003c/p>\n\u003cp>And the community gives back: a mural dedicated to her \u003ca href=\"https://missionlocal.org/2021/06/new-mural-honor-chicana-artist-yolanda-lopez-and-pay-homage-to-bay-area-solidarity-movements/\">is now up\u003c/a> near Folsom and 16th Street, and commemorative posters with her image can be spotted taped up on Mission storefronts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The same things Yolanda was talking about 50 years ago, we’re still dealing with them now,” says Rivera, who helped advocate for the mural. “What I feel excited about is that there’s a whole new generation that’s getting to know her work at a really important time.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yolanda López, the celebrated Chicana artist and longtime Mission District resident, pioneered new representations of the Chicanx community throughout decades of work in painting, photography and graphic design. Reproductions of her images became iconic symbols of the Chicano movement, in accordance with her belief that art should serve the people.\u003c/p>\n\u003cp>She died from complications of liver cancer on Sept. 3 at age 79.\u003c/p>\n\u003cp>“Yolanda was a critical thinker. Outrageously brilliant and revolutionary feminist. Outstanding public intellectual. Painter, draftswoman, installation artist, writer, illustrator, political activist,” says Juana Alicia, an artist and one of Lopez’s close friends.\u003c/p>\n\u003cp>Born in San Diego to a working-class family, López moved to the Bay Area for college in the ’60s, and spent the rest of the decade participating in the social justice movements that rocked the nation. In the Mission, she became involved with the Third World Liberation Front’s fight for ethnic studies departments and the Los Siete movement’s agitation for the release of seven Chicano men accused of killing a white police officer.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her political awakening was also her artistic awakening: she learned how to create punchy images from Emory Douglas, the Black Panther Party’s Minister of Culture, and pressed her talent into service by illustrating \u003cem>¡Basta Ya!\u003c/em>, a radical Mission community newspaper.\u003c/p>\n\u003cfigure id=\"attachment_13903269\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg\" alt=\"A black-and-white print with faces seen through stripes of American flag.\" width=\"1736\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-scaled.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-800x1180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1020x1504.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-768x1133.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1041x1536.jpg 1041w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1389x2048.jpg 1389w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/8.Free_Los_Siete-1920x2832.jpg 1920w\" sizes=\"(max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Free Los Siete,’ 1969. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the mid-’70s, feeling burnt out and alienated from activism, López enrolled in a MFA program at the University of California, San Diego, where she would have the time and resources to make her most famous work. Under the influence of conceptual artist professors like Martha Rosler and Allan Sekula, López began to incorporate and repurpose images drawn from popular culture for political purposes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One example of her mature style was \u003cem>Who’s the Illegal Alien, Pilgrim?\u003c/em> The poster, originally commissioned by the Committee on Chicano Rights, depicts a Chicano man in Aztec garb holding immigration papers in one hand and pointing at the viewer with the other, in an ironic mirroring of Uncle Sam’s famous pose.\u003c/p>\n\u003cp>Ani Rivera, the executive director of Latinx-centered art gallery Galería de la Raza, recalls seeing that poster reproduced and plastered on the wall of her elementary school in San Diego. “I remember seeing that and completely having a visceral reaction. Growing up during Reaganomics, during the harsh political rhetoric impacting our community … to see an image of power [like that] … it just lit up my belly,” Rivera says. “It was a moment of finding my voice, of learning I could demand the same and question.”\u003c/p>\n\u003cfigure id=\"attachment_13903268\" class=\"wp-caption aligncenter\" style=\"max-width: 1672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/9.Illegal_Alien.jpg\" alt=\"\" width=\"1672\" height=\"2100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien.jpg 1672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-800x1005.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1020x1281.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-768x965.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1223x1536.jpg 1223w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/9.Illegal_Alien-1631x2048.jpg 1631w\" sizes=\"(max-width: 1672px) 100vw, 1672px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Who’s the Illegal Alien, Pilgrim?,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López’s most provocative and renowned body of work, however, was her exploration of the Virgin of Guadalupe figure.\u003c/p>\n\u003cp>The artist explained what drew her to the Virgin in a 1993 interview for the journal \u003cem>CrossRoads\u003c/em>: “In 1978 there were no images of Latinos and Chicanos in mass media. As for movement media, the Virgin of Guadalupe was the most prevalent, continuous image of women (whereas there was a variety of male images—César Chávez, Zapata, a pantheon of male figures).”\u003c/p>\n\u003cp>To examine how the image portrayed and confined Chicana femininity, she painted three large canvases depicting the Virgin as herself, her mother and her grandmother. It was the first painting, depicting López running in the Virgin’s garments, that became, according to Museum of Contemporary Art San Diego curator Jill Dawsey, “one of the most widely reproduced and circulated images in the history of Chicanx art.”\u003c/p>\n\u003cfigure id=\"attachment_13903270\" class=\"wp-caption aligncenter\" style=\"max-width: 1906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/3.L%C3%B3pez_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg\" alt=\"\" width=\"1906\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-scaled.jpg 1906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-800x1075.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1020x1370.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-768x1032.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1144x1536.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1525x2048.jpg 1525w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/3.López_Portrait-of-the-Artist-as-Virgin-of-Guadalupe-1920x2579.jpg 1920w\" sizes=\"(max-width: 1906px) 100vw, 1906px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Portrait of the Artist as Virgin of Guadalupe,’ 1978. \u003ccite>(Museum of Contemporary Art San Diego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>López, along with \u003ca href=\"https://patssivaldez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Patssi Valdez\u003c/a> and \u003ca href=\"https://esterhernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ester Hernandez\u003c/a>, was one of the earliest Chicana artists to reclaim the Virgin as a feminist symbol. The Virgin’s heavy robes, which usually seem to weigh her down, are cut at the knee, allowing her to leap out of her mandorla and shake off the male angel at her feet.\u003c/p>\n\u003cp>Asked in 2007 by Chicana/o studies professor Karen Mary Davalos why that piece in particular became a touchstone for generations of Chicana activists, López mused, “Because it’s exuberant, and I don’t think there are many exuberant pictures of us within the Chicano visual library.”\u003c/p>\n\u003cp>After the completion of her MFA degree, López returned to the Bay Area in the ’80s, teaching at the UC Berkeley, Mills College and California College of the Arts, and regularly exhibiting her work in group shows and the Mission’s Galería de la Raza.\u003c/p>\n\u003cp>After the birth of her son with fellow artist \u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\" target=\"_blank\" rel=\"noopener noreferrer\">René Yañez\u003c/a>, she turned away from painting—she had limited time as a working mother—and towards photography, performances and large-scale installation. Works from this time period include \u003cem>Things I Never Told My Son About Being a Mexican\u003c/em>, an installation of found children’s objects with stereotypical depictions of Mexican people on them, and the \u003cem>Life in the Mission\u003c/em> series, a collection of photographs of daily life in her neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her dedication to politically charged art never abated. She captured headlines in 2014 when she turned her eviction from her Mission apartment of 40 years into “garage sale” performances-slash-protests held at Galería and Red Poppy Art House. (Galería de la Raza itself \u003ca href=\"https://missionlocal.org/2018/12/evicted-galeria-de-la-raza-lands-on-valencia-street/\">was evicted\u003c/a> from its longtime building in 2018.)\u003c/p>\n\u003cp>Despite her long career as a major Chicana artist, López was only irregularly acknowledged by the art world at large. Her upcoming exhibition at the Museum of Contemporary Art San Diego, \u003cem>\u003ca href=\"https://www.mcasd.org/exhibitions/yolanda-l%C3%B3pez-portrait-artist\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López: Portrait of the Artist\u003c/a>\u003c/em>, is the first solo museum exhibition of her work in her entire career.\u003c/p>\n\u003cp>“It took almost five decades to get this type of recognition of her work that she fought for,” says Rivera. “She nurtured so many of us. That’s why organizations like the Galería were created, we felt that we needed to create spaces that celebrated and honored alternative voices. The fact that it’s taken this long to have major museums open up their doors is just atrocious.”\u003c/p>\n\u003cp>Dawsey, the curator behind \u003cem>Portrait of the Artist\u003c/em>, says, “Yolanda was ignored by [the institutional art] world, but she also didn’t seek approval from that world. Her primary audience was always the Chicanx community … she was first and foremost committed to her politics.”\u003c/p>\n\u003cp>And the community gives back: a mural dedicated to her \u003ca href=\"https://missionlocal.org/2021/06/new-mural-honor-chicana-artist-yolanda-lopez-and-pay-homage-to-bay-area-solidarity-movements/\">is now up\u003c/a> near Folsom and 16th Street, and commemorative posters with her image can be spotted taped up on Mission storefronts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Oakland four-piece Hawak dropped their debut album \u003cem>nước\u003c/em> in August after two years of delays. It’s a lean, sub-30 minute introduction to their screamo meets post-rock style. Their songs pause between furious hardcore freak-outs to sit with a melody or an atmosphere, like a boat in the calm between waves.\u003c/p>\n\u003cp>Hawak (Tagalog for “holding”) has Vietnamese American and Filipino American members, and they continue the \u003ca href=\"https://www.youtube.com/watch?v=Hw4LFDFbyOs\">decades-long\u003c/a> Bay Area \u003ca href=\"https://eastbayexpress.com/major-threat-1/\">tradition\u003c/a> of path-breaking Southeast Asian hardcore acts. \u003cem>Nước\u003c/em> means “water” in Vietnamese, an allusion to the journey of Vietnamese refugees, or “boat people,” fleeing the consequences of the end of the Vietnam War. Hawak uses the story of the refugees to anchor the album’s themes of pain, alienation and social justice.\u003c/p>\n\u003cp>The album’s opener, “realign,” is Hawak’s thesis statement. It begins with the gentle warbling of the Vietnamese one-string zither, or đàn bầu, recorded from a busker at Fruitvale Station. Roaring power chords interrupt the scene and bring in the main lyric, delivered at the hoarsest, loudest pitch possible: “treading tradition / to see / if a path clears.” After two minutes of pure energy, the track gives way to a quiet archival recording of a former South Vietnamese soldier recounting their betrayal at the hands of the American government.\u003c/p>\n\u003cp>It’s a dense, heady first salvo, as appropriate for an album like \u003cem>nước\u003c/em>. The record dodges the adjectives lazily applied to hardcore music like “raw” or “angry” to sit with ambivalent feelings like confusion and aimlessness. The album asks, circles around and fails to answer the concluding question of “realign:” “Can I find a way to a place I can call home?”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2034859009/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2399333521/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"order": 1
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"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 />",
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"id": "commonwealth-club",
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"hidden-brain": {
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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"masters-of-scale": {
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"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)",
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"source": "WaitWhat"
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"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>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"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/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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