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"slug": "crowds-and-dragons-pack-chinatown-for-san-franciscos-chinese-new-year-parade",
"title": "Crowds (and Dragons) Pack Chinatown for San Francisco's Chinese New Year Parade",
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"content": "\u003cp>Thousands lined the streets of Chinatown Saturday for San Francisco’s dazzling annual \u003ca href=\"https://www.kqed.org/news/11976610/your-guide-to-the-2024-san-francisco-chinese-new-year-parade\">Chinese New Year Parade\u003c/a> that celebrates the Lunar New Year and the Chinese \u003ca href=\"https://www.kqed.org/arts/13951648/lunar-new-year-of-the-dragon-superstitions-celebrations\">Year of the Dragon\u003c/a>.\u003c/p>\n\u003cp>Beginning at Second and Market streets in downtown San Francisco at 5:15 p.m., the nearly three-hour parade made its way through Chinatown on a 1.3-mile course that rounded Union Square before ending at Kearny and Columbus Avenue.\u003c/p>\n\u003cfigure id=\"attachment_11977001\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977001\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A dragon passes by at the Chinese New Year Festival and Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers of the parade say it’s considered one of the top ten parades in the world by the International Festivals & Events Association and \u003ca href=\"https://www.sfchronicle.com/bayarea/article/sf-chinese-new-year-18678491.php\">the biggest Lunar New Year parade outside of Asia\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11977004\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Performing Arts perform during the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11977014\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Members of Lisa Performing Arts watch the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many arrived early to get a good spot or a seat ahead of the parade. Cynthia Lee and her family, who’ve been coming to the annual event for the last five years, were there an hour before the parade started with their lawn chairs set up against the barricade.\u003c/p>\n\u003cp>“We have family members who are born in the year of the dragon. and this is their year,” Lee said. “It only comes around once every 12 years, and we’ve got a couple people reaching 96 this year, so the fact that they’re still around is already a big deal.”\u003c/p>\n\u003cfigure id=\"attachment_11977008\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977008\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mayor London Breed (left) and City Administrator Carmen Chu wave to the crowd during the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11977015\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Participants walk with a dragon at the Chinese New Year Festival and Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Hom, 73, started coming to the parade when he was 12 years old, but this year’s is the first he’s been to in 10 years.\u003c/p>\n\u003cp>“After the weather, we’ve been having, it’s so beautiful tonight, and after the pandemic, we gotta come out and celebrate,” said Hom, who was gifted a seat in the bleachers by a “fabulous, fabulous” friend.\u003c/p>\n\u003cp>“It’s a celebration of life. … It’s wall-to-wall people, I love it.”\u003c/p>\n\u003cfigure id=\"attachment_11977016\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977016\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Hom, 74, attends the Chinese New Festival and Parade in San Francisco on Feb. 24, 2024. Hom is a San Francisco native and was born in the SF Chinese Hospital. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11977002\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yau Kung Moon performs during the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade featured floats and a nearly 300-foot dragon puppet, with Golden Globe-winning comedian and actor Awkwafina as grand marshal. There are also five wooden dragon statues across the city, produced by local artists for the Lunar New Year celebrations, which will continue through March 3.\u003c/p>\n\u003cfigure id=\"attachment_11977009\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977009\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spectators watch the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elianna Goldstein, who used to go to the parade when she was a kid, was back for the first time in 20 years with her two kids, aged 7 and 11.\u003c/p>\n\u003cp>“I remember always dodging between legs trying to see anything, so I’m very excited that we have this spot, and [my kids are] going to be able to see everything up close.”\u003c/p>\n\u003cfigure id=\"attachment_11977010\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977010\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Firecrackers are set off at the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Year of the Dragon officially began on Feb. 10 and is the fifth of the 12-year cycle of animals in the Chinese zodiac, considered a powerful and lucky sign, with those born that year being considered innovative thinkers with inquisitive minds. This is the year of the wood dragon, one of five elements along with water, earth, fire and metal. It lasts until Jan. 28 and will be followed by the Year of the Snake.\u003c/p>\n\u003cfigure id=\"attachment_11977011\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977011\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yau Kung Moon performs during the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11977018\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977018\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lion dancers at the Chinese New Year Festival and Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Alex Rodriguez, who was there with her 5-year-old, the experience this year was nostalgic.\u003c/p>\n\u003cp>“It was really fun when I was young; I grew up in Castro Valley, and [[our school]] would do a little dragon parade for us when I was little, so I wanted to pass on the joy,” she said. “It’s amazing. I love the costumes, the people, everybody’s so friendly. … The lion dances have also been my favorite since I was little.”\u003c/p>\n\u003cfigure id=\"attachment_11977012\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Garfield Elementary School prepares to march at the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides the parade, there is a Community Street Fair on Saturday and Sunday, 5:15–8 p.m., with food vendors, activities, folk dancing, opera and drumming performances organized by the San Francisco Chinese Chamber of Commerce.\u003c/p>\n\u003cfigure id=\"attachment_11977013\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977013\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks go off at the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED’s Juan Carlos Lara, Lakshmi Sarah, Dana Cronin and Attila Pelit contributed to this story.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Thousands gathered to celebrate the Lunar New Year and the Year of the Dragon in downtown San Francisco, with an impressive dragon puppet and Awkwafina as grand marshal.",
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"title": "Crowds (and Dragons) Pack Chinatown for San Francisco's Chinese New Year Parade | KQED",
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"headline": "Crowds (and Dragons) Pack Chinatown for San Francisco's Chinese New Year Parade",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thousands lined the streets of Chinatown Saturday for San Francisco’s dazzling annual \u003ca href=\"https://www.kqed.org/news/11976610/your-guide-to-the-2024-san-francisco-chinese-new-year-parade\">Chinese New Year Parade\u003c/a> that celebrates the Lunar New Year and the Chinese \u003ca href=\"https://www.kqed.org/arts/13951648/lunar-new-year-of-the-dragon-superstitions-celebrations\">Year of the Dragon\u003c/a>.\u003c/p>\n\u003cp>Beginning at Second and Market streets in downtown San Francisco at 5:15 p.m., the nearly three-hour parade made its way through Chinatown on a 1.3-mile course that rounded Union Square before ending at Kearny and Columbus Avenue.\u003c/p>\n\u003cfigure id=\"attachment_11977001\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977001\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-10_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A dragon passes by at the Chinese New Year Festival and Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers of the parade say it’s considered one of the top ten parades in the world by the International Festivals & Events Association and \u003ca href=\"https://www.sfchronicle.com/bayarea/article/sf-chinese-new-year-18678491.php\">the biggest Lunar New Year parade outside of Asia\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11977004\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-38-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Performing Arts perform during the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11977014\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-22-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Members of Lisa Performing Arts watch the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many arrived early to get a good spot or a seat ahead of the parade. Cynthia Lee and her family, who’ve been coming to the annual event for the last five years, were there an hour before the parade started with their lawn chairs set up against the barricade.\u003c/p>\n\u003cp>“We have family members who are born in the year of the dragon. and this is their year,” Lee said. “It only comes around once every 12 years, and we’ve got a couple people reaching 96 this year, so the fact that they’re still around is already a big deal.”\u003c/p>\n\u003cfigure id=\"attachment_11977008\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977008\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-55-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mayor London Breed (left) and City Administrator Carmen Chu wave to the crowd during the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11977015\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-14_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Participants walk with a dragon at the Chinese New Year Festival and Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Hom, 73, started coming to the parade when he was 12 years old, but this year’s is the first he’s been to in 10 years.\u003c/p>\n\u003cp>“After the weather, we’ve been having, it’s so beautiful tonight, and after the pandemic, we gotta come out and celebrate,” said Hom, who was gifted a seat in the bleachers by a “fabulous, fabulous” friend.\u003c/p>\n\u003cp>“It’s a celebration of life. … It’s wall-to-wall people, I love it.”\u003c/p>\n\u003cfigure id=\"attachment_11977016\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977016\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-12_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Hom, 74, attends the Chinese New Festival and Parade in San Francisco on Feb. 24, 2024. Hom is a San Francisco native and was born in the SF Chinese Hospital. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11977002\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yau Kung Moon performs during the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade featured floats and a nearly 300-foot dragon puppet, with Golden Globe-winning comedian and actor Awkwafina as grand marshal. There are also five wooden dragon statues across the city, produced by local artists for the Lunar New Year celebrations, which will continue through March 3.\u003c/p>\n\u003cfigure id=\"attachment_11977009\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977009\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-10-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spectators watch the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elianna Goldstein, who used to go to the parade when she was a kid, was back for the first time in 20 years with her two kids, aged 7 and 11.\u003c/p>\n\u003cp>“I remember always dodging between legs trying to see anything, so I’m very excited that we have this spot, and [my kids are] going to be able to see everything up close.”\u003c/p>\n\u003cfigure id=\"attachment_11977010\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977010\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-27-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Firecrackers are set off at the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Year of the Dragon officially began on Feb. 10 and is the fifth of the 12-year cycle of animals in the Chinese zodiac, considered a powerful and lucky sign, with those born that year being considered innovative thinkers with inquisitive minds. This is the year of the wood dragon, one of five elements along with water, earth, fire and metal. It lasts until Jan. 28 and will be followed by the Year of the Snake.\u003c/p>\n\u003cfigure id=\"attachment_11977011\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977011\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-31-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yau Kung Moon performs during the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11977018\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977018\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-Chinese-new-year-parade-KSM-18_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lion dancers at the Chinese New Year Festival and Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Alex Rodriguez, who was there with her 5-year-old, the experience this year was nostalgic.\u003c/p>\n\u003cp>“It was really fun when I was young; I grew up in Castro Valley, and [[our school]] would do a little dragon parade for us when I was little, so I wanted to pass on the joy,” she said. “It’s amazing. I love the costumes, the people, everybody’s so friendly. … The lion dances have also been my favorite since I was little.”\u003c/p>\n\u003cfigure id=\"attachment_11977012\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Garfield Elementary School prepares to march at the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides the parade, there is a Community Street Fair on Saturday and Sunday, 5:15–8 p.m., with food vendors, activities, folk dancing, opera and drumming performances organized by the San Francisco Chinese Chamber of Commerce.\u003c/p>\n\u003cfigure id=\"attachment_11977013\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977013\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240224-ChineseNYParade-60-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks go off at the Chinese New Year Parade in San Francisco on Feb. 24, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED’s Juan Carlos Lara, Lakshmi Sarah, Dana Cronin and Attila Pelit contributed to this story.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Camellia Boutros’s psychedelic Arab rock showcases an eclectic mix of influences and a vast range of musical talents. The producer, composer and singer is also a multi-instrumentalist, playing the trumpet, drums, synthesizers, and a 12-string fretless guitar customized to sound like an oud.\u003c/p>\n\u003cp>A first-generation immigrant to the United States, Boutros grew up visiting Lebanon every other year of her childhood.\u003c/p>\n\u003cp>“I was really influenced by both psychedelic rock and hip hop and jazz and R&B, \u003ci>and\u003c/i> Arab folk music, Arab classical music, Fairuz,” she said. “There’s a good dose of experimentalism in there.”\u003c/p>\n\u003cp>“Taqsim Bayati” exemplifies these influences, starting off with a classic Arab \u003ci>taqsim\u003c/i>, which Boutros compares to improvisation in Western jazz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I like to think of it as, instead of scales and modulating chords and keys, you have a bunch of places, almost like cities on a map, and there’s a way to get from one place to another,” Boutros said. “Like there’s a bridge that takes you from San Francisco to Oakland, but you can’t take that same bridge to get to San Jose; you have to go a different way. Arabic improvisation can really feel like that like there are different routes to get from one musical place to another.”\u003c/p>\n\u003cp>Typical of Arab improvisation, the song starts low in pitch and then escalates to a climax before a gradual decline. Boutros plays with this format by incorporating audio from news clips into the musical climax of her song, drawing upon her observations of media portrayals in the United States.\u003c/p>\n\u003cp>She said people who listened to the song had described it as a really intense listening experience.\u003c/p>\n\u003cp>“They’ve told me that they can feel the anxiety that I was feeling, which maybe is a good thing. Maybe it’s a bad thing. I don’t know,” Boutros said. “But there are news clips in there about climate change. There are news clips in there about Palestine–I’m half Palestinian. About all kinds of things that I think people in the United States would find relatable from our experience of watching TV here.”\u003c/p>\n\u003cp>Boutros’s first album, \u003ci>Refuge\u003c/i>, was written mostly during the pandemic lockdown when she discovered a daily routine and rhythm that helped carve out space and time for herself.\u003c/p>\n\u003cp>“There was this big slowdown for the pandemic, for everybody, for better or for worse. And everybody had to readjust in one way or another,” she said. “And then as people started going back to work, this gradual speed up happened. And I really, really felt it.”\u003c/p>\n\u003cp>\u003ci>Refuge\u003c/i> was written with this slow down and routine in mind–as if every song on the album moves through a different time of day, from morning to night.\u003c/p>\n\u003cp>“Right around what I think of as midnight of the album, there’s a song ‘Refuge,’ which is the name of the album, which is kind of like, alright, you got through the day, you’re past anything that you needed to do, and if you didn’t do what you needed to do, well, it’s too late now, you can start again tomorrow, you can sort of just let go and party and celebrate,” she said.\u003c/p>\n\u003cp>At night, she can let go, be her most creative, and enjoy herself. She wanted the album to feel the same way she did every day during the pandemic.\u003c/p>\n\u003cp>“I don’t miss the lockdown at all,” she said. “But it did give me one of the few slowdowns I’ve ever had in my life. And I started trying to hold on to it as things started getting faster again. And now, I’m glad to see that the music scene, especially in the Bay Area, has really bounced back a lot.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Boutros can be found playing trumpet for various bands in the Bay Area, on Instagram @\u003ca href=\"https://www.instagram.com/camelliaboutrosmusic/?utm_source=ig_embed&ig_rid=420631d1-0a43-4160-ba5d-ee32bf378704&ig_mid=F6402F47-1CA4-4514-AA0B-89F0F3C38451#\">camelliaboutrosmusic\u003c/a>, and at The Lab in San Francisco on March 12 at 8 p.m. She is working on a second album, and you can listen to her music on \u003ca href=\"https://open.spotify.com/artist/5okBZdADPz9Qm2j7wMdQRK?si=2dI0xHtDQTqN5kCKecAr_A\">Spotify\u003c/a> and \u003ca href=\"https://camelliaboutros.bandcamp.com/album/refuge\">Bandcamp\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Camellia Boutros’s psychedelic Arab rock showcases an eclectic mix of influences and a vast range of musical talents. The producer, composer and singer is also a multi-instrumentalist, playing the trumpet, drums, synthesizers, and a 12-string fretless guitar customized to sound like an oud.\u003c/p>\n\u003cp>A first-generation immigrant to the United States, Boutros grew up visiting Lebanon every other year of her childhood.\u003c/p>\n\u003cp>“I was really influenced by both psychedelic rock and hip hop and jazz and R&B, \u003ci>and\u003c/i> Arab folk music, Arab classical music, Fairuz,” she said. “There’s a good dose of experimentalism in there.”\u003c/p>\n\u003cp>“Taqsim Bayati” exemplifies these influences, starting off with a classic Arab \u003ci>taqsim\u003c/i>, which Boutros compares to improvisation in Western jazz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I like to think of it as, instead of scales and modulating chords and keys, you have a bunch of places, almost like cities on a map, and there’s a way to get from one place to another,” Boutros said. “Like there’s a bridge that takes you from San Francisco to Oakland, but you can’t take that same bridge to get to San Jose; you have to go a different way. Arabic improvisation can really feel like that like there are different routes to get from one musical place to another.”\u003c/p>\n\u003cp>Typical of Arab improvisation, the song starts low in pitch and then escalates to a climax before a gradual decline. Boutros plays with this format by incorporating audio from news clips into the musical climax of her song, drawing upon her observations of media portrayals in the United States.\u003c/p>\n\u003cp>She said people who listened to the song had described it as a really intense listening experience.\u003c/p>\n\u003cp>“They’ve told me that they can feel the anxiety that I was feeling, which maybe is a good thing. Maybe it’s a bad thing. I don’t know,” Boutros said. “But there are news clips in there about climate change. There are news clips in there about Palestine–I’m half Palestinian. About all kinds of things that I think people in the United States would find relatable from our experience of watching TV here.”\u003c/p>\n\u003cp>Boutros’s first album, \u003ci>Refuge\u003c/i>, was written mostly during the pandemic lockdown when she discovered a daily routine and rhythm that helped carve out space and time for herself.\u003c/p>\n\u003cp>“There was this big slowdown for the pandemic, for everybody, for better or for worse. And everybody had to readjust in one way or another,” she said. “And then as people started going back to work, this gradual speed up happened. And I really, really felt it.”\u003c/p>\n\u003cp>\u003ci>Refuge\u003c/i> was written with this slow down and routine in mind–as if every song on the album moves through a different time of day, from morning to night.\u003c/p>\n\u003cp>“Right around what I think of as midnight of the album, there’s a song ‘Refuge,’ which is the name of the album, which is kind of like, alright, you got through the day, you’re past anything that you needed to do, and if you didn’t do what you needed to do, well, it’s too late now, you can start again tomorrow, you can sort of just let go and party and celebrate,” she said.\u003c/p>\n\u003cp>At night, she can let go, be her most creative, and enjoy herself. She wanted the album to feel the same way she did every day during the pandemic.\u003c/p>\n\u003cp>“I don’t miss the lockdown at all,” she said. “But it did give me one of the few slowdowns I’ve ever had in my life. And I started trying to hold on to it as things started getting faster again. And now, I’m glad to see that the music scene, especially in the Bay Area, has really bounced back a lot.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Boutros can be found playing trumpet for various bands in the Bay Area, on Instagram @\u003ca href=\"https://www.instagram.com/camelliaboutrosmusic/?utm_source=ig_embed&ig_rid=420631d1-0a43-4160-ba5d-ee32bf378704&ig_mid=F6402F47-1CA4-4514-AA0B-89F0F3C38451#\">camelliaboutrosmusic\u003c/a>, and at The Lab in San Francisco on March 12 at 8 p.m. She is working on a second album, and you can listen to her music on \u003ca href=\"https://open.spotify.com/artist/5okBZdADPz9Qm2j7wMdQRK?si=2dI0xHtDQTqN5kCKecAr_A\">Spotify\u003c/a> and \u003ca href=\"https://camelliaboutros.bandcamp.com/album/refuge\">Bandcamp\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Isaac Butler Brown and Noah Pawl Silverman St. John are childhood friends. Over family dinners and long conversations, Brown says they formed a friendship that give him an “original sense of what friendship as therapy should look like.”\u003c/p>\n\u003cp>They also feel safe taking risks together — so they started a band. Brown and his friend Griffin Camm were at a wedding when they saw their friend and drummer John Spencer playing with his punk band, having returned to the Bay Area from New York.\u003c/p>\n\u003cp>“He’s killer at drums and I thought we should just make a pop punk band,” said Brown. “Noah and I had been freestyling and doing a lot of, you know, one off musical things and many, many shared moments of musical creativity … and this just immediately mades sense.”\u003c/p>\n\u003cp>A couple of months later, they brought in their friend Ben Klausner on second guitar, and the pop punk band Adventure Playground was born. The sound is what St. John describes as a “duality of punchiness and loudness on one side, and on the other side … shiny and sweet.” Brown adds that their music has “huge amounts of power and sweatiness. It smells kind of funky, but also it’s like, you take a little taste of it and it’s like, ooh, so sweet, you know?’”\u003c/p>\n\u003cp>Their song “Hands on Me to Heal” comes from a tough time in songwriter St. John’s life. It was a time when, living in his childhood room — which he described as “the most chaotic possible depression room in the entire world” — he would drink coffee, play guitar and write in his journal.\u003c/p>\n\u003cp>“It was one of those mornings this … burst of lyrics came out. I was really inspired by the Modern Lovers and Jonathan Richman’s vocal performance, which is sort of not exactly what the song ended up being in reference to … but, that’s what it originally was heavily inspired by.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>St. John says the song is about a time when he was away at college and had a mental health crisis. He had to leave campus and return home. It was an abruptly separated him from the people he loved there.\u003c/p>\n\u003cp>“The simplest thing I’m articulating is ‘I miss you,’” says St. John. “So the song is just really about [me] calling to tell you that I still absolutely love you for real, for real, and when you get back into town, if you could perhaps maybe put your ‘hands on me to heal’.”\u003c/p>\n\u003cp>“We’ve got plenty of love songs for you romantics out there,” adds Brown. “Just not this one.”\u003c/p>\n\u003cp>The Bay Area has been a big part of shaping the sound and style of the band. St. John cites as inspirations venues, organizations and people like \u003ca href=\"https://youthspeaks.org/\">Youth Speaks\u003c/a>, \u003ca href=\"https://calshakes.org/\">Cal Shakes\u003c/a>, and “various teachers at Berkeley High, or King Middle School, or Malcolm X Elementary School.”\u003c/p>\n\u003cp>“We’re in a place that I think celebrates art more than some places do,” says St. John.\u003c/p>\n\u003cp>“I had never been in a band before,” says St. John, who says wasn’t looking for any “formalized artistic thing” but needed an outlet. “So I was really thrilled because everybody wants to be in a band before they die.”\u003c/p>\n\u003cp>St. John and Brown say their creative process involves a lot of freestyling and improvisation, and that often songs come from sessions where they all jam together until a song begins to take shape. And the result?\u003c/p>\n\u003cp>“Like just a sense of embodied catharsis,” says Brown. Of the audience, he says: “I want them to feel it washing over them. Like they should feel cleansed by the end of the song. And sweaty. You could go to Archimedes Banya for 60 whatever dollars for three hours, or you could just put this song on. Your choice.”\u003c/p>\n\u003cp>Oakland-based Adventure Playground are singer Noah Pawl Silverman St. John, producer and guitar player Issac Butler Brown, drummer John Spencer, bass guitarist Griffin Camm, and guitarist Ben Klausner.\u003c/p>\n\u003cp>Adventure Playground will be \u003ca href=\"https://wl.seetickets.us/event/adventure-playground-planetmercury-furious-tits/580945?afflky=HotelUtahSaloon\">performing at the Hotel Utah Saloon\u003c/a> in San Francisco on February 23.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "In this episode of the Sunday Music Drop, Oakland pop punk band Adventure Playground want you to feel cleansed with catharsis and sweat with their song 'Hands on Me to Heal.' ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Isaac Butler Brown and Noah Pawl Silverman St. John are childhood friends. Over family dinners and long conversations, Brown says they formed a friendship that give him an “original sense of what friendship as therapy should look like.”\u003c/p>\n\u003cp>They also feel safe taking risks together — so they started a band. Brown and his friend Griffin Camm were at a wedding when they saw their friend and drummer John Spencer playing with his punk band, having returned to the Bay Area from New York.\u003c/p>\n\u003cp>“He’s killer at drums and I thought we should just make a pop punk band,” said Brown. “Noah and I had been freestyling and doing a lot of, you know, one off musical things and many, many shared moments of musical creativity … and this just immediately mades sense.”\u003c/p>\n\u003cp>A couple of months later, they brought in their friend Ben Klausner on second guitar, and the pop punk band Adventure Playground was born. The sound is what St. John describes as a “duality of punchiness and loudness on one side, and on the other side … shiny and sweet.” Brown adds that their music has “huge amounts of power and sweatiness. It smells kind of funky, but also it’s like, you take a little taste of it and it’s like, ooh, so sweet, you know?’”\u003c/p>\n\u003cp>Their song “Hands on Me to Heal” comes from a tough time in songwriter St. John’s life. It was a time when, living in his childhood room — which he described as “the most chaotic possible depression room in the entire world” — he would drink coffee, play guitar and write in his journal.\u003c/p>\n\u003cp>“It was one of those mornings this … burst of lyrics came out. I was really inspired by the Modern Lovers and Jonathan Richman’s vocal performance, which is sort of not exactly what the song ended up being in reference to … but, that’s what it originally was heavily inspired by.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>St. John says the song is about a time when he was away at college and had a mental health crisis. He had to leave campus and return home. It was an abruptly separated him from the people he loved there.\u003c/p>\n\u003cp>“The simplest thing I’m articulating is ‘I miss you,’” says St. John. “So the song is just really about [me] calling to tell you that I still absolutely love you for real, for real, and when you get back into town, if you could perhaps maybe put your ‘hands on me to heal’.”\u003c/p>\n\u003cp>“We’ve got plenty of love songs for you romantics out there,” adds Brown. “Just not this one.”\u003c/p>\n\u003cp>The Bay Area has been a big part of shaping the sound and style of the band. St. John cites as inspirations venues, organizations and people like \u003ca href=\"https://youthspeaks.org/\">Youth Speaks\u003c/a>, \u003ca href=\"https://calshakes.org/\">Cal Shakes\u003c/a>, and “various teachers at Berkeley High, or King Middle School, or Malcolm X Elementary School.”\u003c/p>\n\u003cp>“We’re in a place that I think celebrates art more than some places do,” says St. John.\u003c/p>\n\u003cp>“I had never been in a band before,” says St. John, who says wasn’t looking for any “formalized artistic thing” but needed an outlet. “So I was really thrilled because everybody wants to be in a band before they die.”\u003c/p>\n\u003cp>St. John and Brown say their creative process involves a lot of freestyling and improvisation, and that often songs come from sessions where they all jam together until a song begins to take shape. And the result?\u003c/p>\n\u003cp>“Like just a sense of embodied catharsis,” says Brown. Of the audience, he says: “I want them to feel it washing over them. Like they should feel cleansed by the end of the song. And sweaty. You could go to Archimedes Banya for 60 whatever dollars for three hours, or you could just put this song on. Your choice.”\u003c/p>\n\u003cp>Oakland-based Adventure Playground are singer Noah Pawl Silverman St. John, producer and guitar player Issac Butler Brown, drummer John Spencer, bass guitarist Griffin Camm, and guitarist Ben Klausner.\u003c/p>\n\u003cp>Adventure Playground will be \u003ca href=\"https://wl.seetickets.us/event/adventure-playground-planetmercury-furious-tits/580945?afflky=HotelUtahSaloon\">performing at the Hotel Utah Saloon\u003c/a> in San Francisco on February 23.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "How This Oakland Business Gives Mannequins New Life (Almost)",
"headTitle": "How This Oakland Business Gives Mannequins New Life (Almost) | KQED",
"content": "\u003cp>When you step inside the \u003ca href=\"https://www.mannequinmadness.com/\">Mannequin Madness\u003c/a> warehouse in Oakland, you’re greeted by a mind-boggling assortment of mannequins for rent or sale.\u003c/p>\n\u003cp>“They’re not always just mannequins with a head,” smiled founder Judi Henderson. “There’s legs, there’s feet, there’s butts. One of these boxes here is just full of heads.”\u003c/p>\n\u003cp>There’s even a life-sized mannequin of former President Barack Obama next to a plastic chest tied up in Shibari rope. A little something for every taste at Mannequin Madness.\u003c/p>\n\u003cfigure id=\"attachment_11971898\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11971898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Participants make decorative headdresses during a headdress workshop at Mannequin Madness in Oakland on Jan. 7, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve seen every cross-section of society coming through here,” Henderson said. “Every age group, every nationality, every sex and sexual orientation.” But Henderson said the biggest holidays for mannequin shopping are Halloween and Burning Man. “Burning Man is like my Christmas,” she said.\u003c/p>\n\u003ch2>Blame it on Tina!\u003c/h2>\n\u003cp>Henderson is a stylish 66-year-old Black entrepreneur who’s built a mannequin empire inside a warehouse near Oakland’s Jack London Square that once housed a \u003ca href=\"https://localwiki.org/oakland/California_Cotton_Mills\">historic cotton mill.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11971900\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11971900\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED.jpg\" alt=\"A man helps a woman put on a headdress.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hector Villacorta (left) helps Julia Gunn try on a headdress at Mannequin Madness during a headdress workshop in Oakland on Jan. 7, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I blame it all on Tina,” said Henderson, who was searching for Tina Turner concert tickets one night when she came across a listing for a mannequin for sale on Craigslist. Her impulsive buy would set the course for the rest of her life.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Judi Henderson, founder and president, Mannequin Madness\"]‘Secondhand or used does not necessarily mean that it’s in disrepair or it’s in poor condition. I like to feel we’re giving a new youth for something old, kind of like myself.’[/pullquote]“[The seller] just casually told me that he ran the only mannequin rental business in town,” Henderson said, “and now that he was leaving the Bay Area, there wouldn’t be a place to rent a mannequin in the area anymore.”\u003c/p>\n\u003cp>Henderson pondered for a moment.\u003c/p>\n\u003cp>“I was already looking for a side hustle,” she said, “but most people don’t know a good opportunity when they see it.” Henderson figured this might be her long-awaited shot at becoming an entrepreneur.\u003c/p>\n\u003cp>“I was working at a dot-com in the early days of the internet,” said Henderson, who worked in sales.\u003c/p>\n\u003cp>“This was before ‘girl boss’ became part of the culture,” she said. So she had to sit back and watch while many of her white male colleagues saw their careers skyrocket.\u003c/p>\n\u003cfigure id=\"attachment_11971899\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11971899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED.jpg\" alt=\"People around a table during a workshop with colorful headdresses and materials strewn around. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Instructor Hector Villacorta (center) leads a headdress workshop at Mannequin Madness in Oakland on Jan. 7, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They weren’t any smarter than I was,” Henderson said, “but they were confident and resilient and had resources.”\u003c/p>\n\u003cp>Once she met the mannequin seller on Craigslist, Henderson realized she was staring at her opportunity. “So I bought all 50 of his mannequins,” Henderson said, “and I started Mannequin Madness Rental Company out of my house.”\u003c/p>\n\u003ch2>Keeping mannequins out of the landfill\u003c/h2>\n\u003cp>“I found out that department stores would throw mannequins in the trash,” Henderson said. She did some research and was alarmed to learn just how much waste was present in the mannequin business. If a store needed to update their mannequins as styles changed, they would just toss the old ones in the trash.\u003c/p>\n\u003cp>“Mannequins are made out of materials that don’t biodegrade. Things like fiberglass and styrofoam,” she said, gesturing toward a collection of different types of mannequins. ”I knew these didn’t belong in a landfill.”\u003c/p>\n\u003cp>So Henderson came up with a plan to help the environment and expand her business.\u003c/p>\n\u003cfigure id=\"attachment_11971897\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11971897\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mannequins in the Mannequin Madness warehouse on Dec. 13, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started making retailers an offer they couldn’t refuse,” Henderson said with pride. “I would recycle their mannequins for free, saving them on waste disposal fees.” Henderson would send a truck to pick up the old mannequins at no cost to the retailer.\u003c/p>\n\u003cp>“That gave me inventory, and I went from 50 to 500 mannequins within a six-month period of time,” she said, “which gave me enough to not just rent but to sell.”\u003c/p>\n\u003ch2>\u003cstrong>Consumed by Mannequin Madness\u003c/strong>\u003c/h2>\n\u003cp>In 2001, in the wake of the 9/11 terrorist attacks in New York and Washington, D.C., Henderson suddenly found herself unemployed. The dot-com folded, and suddenly, she found herself without an income and with a house full of mannequins.\u003c/p>\n\u003cfigure id=\"attachment_11971896\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11971896\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Judi Henderson, the president at Mannequin Madness, inspects a child-sized sewing format in the Mannequin Madness warehouse on Dec. 13, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So I decided to make Mannequin Madness my full-time venture,” Henderson said. She began searching for a more suitable home for her inventory, landing on the 3,200-square-foot warehouse in Oakland (1031 Cotton Street) that’s now open to the public three days a week.\u003c/p>\n\u003cp>Visitors — many of them first-time mannequin buyers — come searching for mannequins for art projects or just to ogle at Henderson’s collection. She also offers mannequin art classes, like \u003ca href=\"https://www.mannequinmadness.com/pages/the-headdress-work-shop\">a workshop\u003c/a> in making fantasy headdresses.\u003c/p>\n\u003cp>“Secondhand or used does not necessarily mean that it’s in disrepair or it’s in poor condition,” Henderson said. “I like to feel we’re giving a new youth for something old, kind of like myself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you step inside the \u003ca href=\"https://www.mannequinmadness.com/\">Mannequin Madness\u003c/a> warehouse in Oakland, you’re greeted by a mind-boggling assortment of mannequins for rent or sale.\u003c/p>\n\u003cp>“They’re not always just mannequins with a head,” smiled founder Judi Henderson. “There’s legs, there’s feet, there’s butts. One of these boxes here is just full of heads.”\u003c/p>\n\u003cp>There’s even a life-sized mannequin of former President Barack Obama next to a plastic chest tied up in Shibari rope. A little something for every taste at Mannequin Madness.\u003c/p>\n\u003cfigure id=\"attachment_11971898\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11971898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Participants make decorative headdresses during a headdress workshop at Mannequin Madness in Oakland on Jan. 7, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve seen every cross-section of society coming through here,” Henderson said. “Every age group, every nationality, every sex and sexual orientation.” But Henderson said the biggest holidays for mannequin shopping are Halloween and Burning Man. “Burning Man is like my Christmas,” she said.\u003c/p>\n\u003ch2>Blame it on Tina!\u003c/h2>\n\u003cp>Henderson is a stylish 66-year-old Black entrepreneur who’s built a mannequin empire inside a warehouse near Oakland’s Jack London Square that once housed a \u003ca href=\"https://localwiki.org/oakland/California_Cotton_Mills\">historic cotton mill.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11971900\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11971900\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED.jpg\" alt=\"A man helps a woman put on a headdress.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hector Villacorta (left) helps Julia Gunn try on a headdress at Mannequin Madness during a headdress workshop in Oakland on Jan. 7, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I blame it all on Tina,” said Henderson, who was searching for Tina Turner concert tickets one night when she came across a listing for a mannequin for sale on Craigslist. Her impulsive buy would set the course for the rest of her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“[The seller] just casually told me that he ran the only mannequin rental business in town,” Henderson said, “and now that he was leaving the Bay Area, there wouldn’t be a place to rent a mannequin in the area anymore.”\u003c/p>\n\u003cp>Henderson pondered for a moment.\u003c/p>\n\u003cp>“I was already looking for a side hustle,” she said, “but most people don’t know a good opportunity when they see it.” Henderson figured this might be her long-awaited shot at becoming an entrepreneur.\u003c/p>\n\u003cp>“I was working at a dot-com in the early days of the internet,” said Henderson, who worked in sales.\u003c/p>\n\u003cp>“This was before ‘girl boss’ became part of the culture,” she said. So she had to sit back and watch while many of her white male colleagues saw their careers skyrocket.\u003c/p>\n\u003cfigure id=\"attachment_11971899\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11971899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED.jpg\" alt=\"People around a table during a workshop with colorful headdresses and materials strewn around. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Instructor Hector Villacorta (center) leads a headdress workshop at Mannequin Madness in Oakland on Jan. 7, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They weren’t any smarter than I was,” Henderson said, “but they were confident and resilient and had resources.”\u003c/p>\n\u003cp>Once she met the mannequin seller on Craigslist, Henderson realized she was staring at her opportunity. “So I bought all 50 of his mannequins,” Henderson said, “and I started Mannequin Madness Rental Company out of my house.”\u003c/p>\n\u003ch2>Keeping mannequins out of the landfill\u003c/h2>\n\u003cp>“I found out that department stores would throw mannequins in the trash,” Henderson said. She did some research and was alarmed to learn just how much waste was present in the mannequin business. If a store needed to update their mannequins as styles changed, they would just toss the old ones in the trash.\u003c/p>\n\u003cp>“Mannequins are made out of materials that don’t biodegrade. Things like fiberglass and styrofoam,” she said, gesturing toward a collection of different types of mannequins. ”I knew these didn’t belong in a landfill.”\u003c/p>\n\u003cp>So Henderson came up with a plan to help the environment and expand her business.\u003c/p>\n\u003cfigure id=\"attachment_11971897\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11971897\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mannequins in the Mannequin Madness warehouse on Dec. 13, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started making retailers an offer they couldn’t refuse,” Henderson said with pride. “I would recycle their mannequins for free, saving them on waste disposal fees.” Henderson would send a truck to pick up the old mannequins at no cost to the retailer.\u003c/p>\n\u003cp>“That gave me inventory, and I went from 50 to 500 mannequins within a six-month period of time,” she said, “which gave me enough to not just rent but to sell.”\u003c/p>\n\u003ch2>\u003cstrong>Consumed by Mannequin Madness\u003c/strong>\u003c/h2>\n\u003cp>In 2001, in the wake of the 9/11 terrorist attacks in New York and Washington, D.C., Henderson suddenly found herself unemployed. The dot-com folded, and suddenly, she found herself without an income and with a house full of mannequins.\u003c/p>\n\u003cfigure id=\"attachment_11971896\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11971896\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/231212-MANNEQUIN-MADNESS-MD-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Judi Henderson, the president at Mannequin Madness, inspects a child-sized sewing format in the Mannequin Madness warehouse on Dec. 13, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So I decided to make Mannequin Madness my full-time venture,” Henderson said. She began searching for a more suitable home for her inventory, landing on the 3,200-square-foot warehouse in Oakland (1031 Cotton Street) that’s now open to the public three days a week.\u003c/p>\n\u003cp>Visitors — many of them first-time mannequin buyers — come searching for mannequins for art projects or just to ogle at Henderson’s collection. She also offers mannequin art classes, like \u003ca href=\"https://www.mannequinmadness.com/pages/the-headdress-work-shop\">a workshop\u003c/a> in making fantasy headdresses.\u003c/p>\n\u003cp>“Secondhand or used does not necessarily mean that it’s in disrepair or it’s in poor condition,” Henderson said. “I like to feel we’re giving a new youth for something old, kind of like myself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Oakland-based songwriter and artist Stephen Steinbrink grew up in Phoenix, Arizona, a place he describes as an isolated cultural desert.\u003c/p>\n\u003cp>“When I was growing up, I would go to all ages spaces in Phoenix, specifically art galleries in the downtown area that you could rent for like a couple hundred bucks a month and people would just organize these bonkers shows that, you know, could only happen then,” they said. “Everything there was kind of happening in a vacuum, no real outside influence culturally and so I think that encouraged a lot of us to just make really strange art.”\u003c/p>\n\u003cp>This early exposure to “strange” art shows its influence in Steinbrink’s music today, which experiments with pop, folk and drone influences. Their songwriting process usually starts with a Casio drone–Steinbrink tapes some keys down and improvises over the sound.\u003c/p>\n\u003cp>“I think it just kind of creates sort of a meditative mood that allows melodies to come from wherever they come from,” said Steinbrink. “It definitely feels like a mysterious process to me. The way I understand it, it’s coming from another place; not really from me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Poured Back in the Stream,” off of Steinbrink’s 2023 album Disappearing Coin, showcases this meditative process. A gentle guitar riff accompanies Steinbrink’s melodical lyrics, which he describes as his attempt to write an optimistic song about meaninglessness, based off the Buddhist perspective.\u003c/p>\n\u003cp>“What if there is no point? And I think that that doesn’t necessarily have to be a really negative outlook. It can be like a beautiful opening into like creating your own meeting and, giving yourself reasons to live, and giving yourself opportunities to love and see beauty and, I mean, that seems like, to me that’s worth staying alive for,” they said.\u003c/p>\n\u003cp>The keyboard drone that starts and ends the track leaves the listener with the perfect environment to consider these ideas.\u003c/p>\n\u003cp>“I feel like as a whole, the album is pretty playful and sometimes silly, but this one feels serious to me,” they said. “I’m singing about pretty heavy stuff, and maybe that’s why it feels like the climax to me. But I think as I was writing it, it just felt like a very pure or effective expression of what I was trying to communicate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stephen Steinbrink will be performing at the Great American Music Hall on March 1 as part of San Francisco’s \u003ca href=\"http://schedule.noisepopfest.com/\">Noise Pop Festival\u003c/a>. You can follow him on Instagram @stephensteinbrink, and listen to his music on \u003ca href=\"https://open.spotify.com/album/6ArP4SucJYXXezqdTN2vxB?si=LwsRky7eQTGUljtGDrAYrg\">Spotify\u003c/a> and \u003ca href=\"https://stephensteinbrink.bandcamp.com/\">Bandcamp\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Oakland-based songwriter and artist Stephen Steinbrink grew up in Phoenix, Arizona, a place he describes as an isolated cultural desert.\u003c/p>\n\u003cp>“When I was growing up, I would go to all ages spaces in Phoenix, specifically art galleries in the downtown area that you could rent for like a couple hundred bucks a month and people would just organize these bonkers shows that, you know, could only happen then,” they said. “Everything there was kind of happening in a vacuum, no real outside influence culturally and so I think that encouraged a lot of us to just make really strange art.”\u003c/p>\n\u003cp>This early exposure to “strange” art shows its influence in Steinbrink’s music today, which experiments with pop, folk and drone influences. Their songwriting process usually starts with a Casio drone–Steinbrink tapes some keys down and improvises over the sound.\u003c/p>\n\u003cp>“I think it just kind of creates sort of a meditative mood that allows melodies to come from wherever they come from,” said Steinbrink. “It definitely feels like a mysterious process to me. The way I understand it, it’s coming from another place; not really from me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Poured Back in the Stream,” off of Steinbrink’s 2023 album Disappearing Coin, showcases this meditative process. A gentle guitar riff accompanies Steinbrink’s melodical lyrics, which he describes as his attempt to write an optimistic song about meaninglessness, based off the Buddhist perspective.\u003c/p>\n\u003cp>“What if there is no point? And I think that that doesn’t necessarily have to be a really negative outlook. It can be like a beautiful opening into like creating your own meeting and, giving yourself reasons to live, and giving yourself opportunities to love and see beauty and, I mean, that seems like, to me that’s worth staying alive for,” they said.\u003c/p>\n\u003cp>The keyboard drone that starts and ends the track leaves the listener with the perfect environment to consider these ideas.\u003c/p>\n\u003cp>“I feel like as a whole, the album is pretty playful and sometimes silly, but this one feels serious to me,” they said. “I’m singing about pretty heavy stuff, and maybe that’s why it feels like the climax to me. But I think as I was writing it, it just felt like a very pure or effective expression of what I was trying to communicate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stephen Steinbrink will be performing at the Great American Music Hall on March 1 as part of San Francisco’s \u003ca href=\"http://schedule.noisepopfest.com/\">Noise Pop Festival\u003c/a>. You can follow him on Instagram @stephensteinbrink, and listen to his music on \u003ca href=\"https://open.spotify.com/album/6ArP4SucJYXXezqdTN2vxB?si=LwsRky7eQTGUljtGDrAYrg\">Spotify\u003c/a> and \u003ca href=\"https://stephensteinbrink.bandcamp.com/\">Bandcamp\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We’re all losing probably collectively gallons of sweat on stage — I mean, everybody’s shirt is soaked wet at the end of the show.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s how Marco Peris Coppola, the Italian-born San Franciscan percussionist and creative strategist of Balkan brass band Inspector Gadje describes one of their stage performances. \u003c/span>\u003c/p>\n\u003cp>With 14 band members, Inspector Gadje is a frenzied force of nature that Coppola describes as participatory and celebratory, inspired by Balkan weddings and funerals. But it’s also a very demanding style of music. He says it’s not just the kind of music that makes you jump up and dance, it’s like a “therapy session,” and a way of “liberating emotions.”\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">This is not just for my band … anytime you go and listen to this style of music, I see people walking in with a certain face, and I see them walking out with a smile,” he says.\u003c/span>\u003c/p>\n\u003cp>Their song “Gangam” is no exception.\u003c/p>\n\u003cp>“It’s … a very high energy, hard-to-sit-still-through kind of music,” says Coppola. “It’s embedded in the Hijaz scale [that] is used not only in the Balkans, but also in Turkey and some parts of Middle East. But really, it’s embedded in solos as well. Sometimes it feels like the song is an excuse to get to the solo where the improvisation happens and where people get a chance to show themselves.”\u003c/p>\n\u003cp>Growing up in Italy, Coppola played drums with a protest band. When he moved to San Francisco he joined the \u003cspan style=\"font-weight: 400\">Brass Liberation Orchestra, a band that plays at progressive demonstrations around the Bay Area. An association called Voice of Roma, a cultural nonprofit that promotes Roma music and works to dismantle stereotypes about Roma people, invited him and the other band members to do a six-month course with a master teacher of Roma music. That’s where Coppola learned to play a Balkan drum called the “tapan,” or “davul.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">After I got like an initial grip on the style, I was hooked — it was like a drug,” Coppola explains. He and four other students from the course founded Inspector Gadje.\u003c/span>\u003c/p>\n\u003cp>They’ve now been playing Balkan music in the Bay Area for the last 11 years. He says their music has evolved over that time and that while they knew they could never play Balkan music like they do in the Balkans, he says they created their own American, Bay Area style that they have been playing at biannual Balkan parties since 2013.\u003c/p>\n\u003cp>“It kind of became almost like a ritual for this community here in San Francisco and the greater Bay Area to meet twice a year,” he says about their parties. “When I do the programming, I always try to have a different or new element per show so that there’s always a change in the color and the feeling of the evening.”\u003c/p>\n\u003cp>Another huge influence in the band has been Coppola’s fellow band member Ismail Lumanovski, who lives in New York but whom Coppola says they try to fly out to San Francisco at least once a year to perform and play with Inspector Gadje. Lumanovski started out as a prodigy in the Roma community, which, Coppola adds, is no mean feat.\u003c/p>\n\u003cp>“Ismail stood out and somebody saw him and give him a scholarship to come and do a senior high school summer program here,” says Coppola of Lumanovski, whom he says is now known throughout the Balkans and Turkey. “Then Juilliard landed their eyes on him and gave him a full-ride scholarship. … He became the first clarinetist at Juilliard. So now his career is very interesting, because he will play featured solos on various symphonies and orchestras around the world, and then he has his own project called New York Gypsy All-Stars, which is sort of like jazz, for lack of a better word.”\u003c/p>\n\u003cp>Ultimately, the Bay Area has also been a huge influence in the music they make.\u003c/p>\n\u003cp>“Coming to the Bay and seeing how all these different cultural backgrounds interact with each other, I feel like that energy and that combination of people leads us to new spots in the music that maybe have not been tried because we haven’t had this particular mix of personnel in the same room practicing together,” he says. “The level of focus has to be there. But we always try to goof off and have a great time on stage either way. And, yeah, a lot of times I have a hard time falling asleep after.”\u003c/p>\n\u003cp>The band’s members include Danny Cao, Noah Levitt, Will Magid, Shane Cox, Ismail Lumanovski, Morgan Nilsen, Mike Perlmutter, Greg Jenkins, Ofir Uziel, Paul Marini, Joshua Sirotiak, Jeff Giaquinto, Greg Stevens, Greg Michalec, and Andrew Cohen.\u003c/p>\n\u003cp>You can hear Inspector Gadje live, performing at the \u003ca href=\"https://rickshawstop.com/seetickets-event/kafana-balkan-with-ismail-lumanovsky-and-inspector-gadje/\">Kafana Balkan Party at Rickshaw Stop\u003c/a>, 155 Fell St. and Van Ness Avenue in San Francisco, on Feb. 3.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We’re all losing probably collectively gallons of sweat on stage — I mean, everybody’s shirt is soaked wet at the end of the show.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s how Marco Peris Coppola, the Italian-born San Franciscan percussionist and creative strategist of Balkan brass band Inspector Gadje describes one of their stage performances. \u003c/span>\u003c/p>\n\u003cp>With 14 band members, Inspector Gadje is a frenzied force of nature that Coppola describes as participatory and celebratory, inspired by Balkan weddings and funerals. But it’s also a very demanding style of music. He says it’s not just the kind of music that makes you jump up and dance, it’s like a “therapy session,” and a way of “liberating emotions.”\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">This is not just for my band … anytime you go and listen to this style of music, I see people walking in with a certain face, and I see them walking out with a smile,” he says.\u003c/span>\u003c/p>\n\u003cp>Their song “Gangam” is no exception.\u003c/p>\n\u003cp>“It’s … a very high energy, hard-to-sit-still-through kind of music,” says Coppola. “It’s embedded in the Hijaz scale [that] is used not only in the Balkans, but also in Turkey and some parts of Middle East. But really, it’s embedded in solos as well. Sometimes it feels like the song is an excuse to get to the solo where the improvisation happens and where people get a chance to show themselves.”\u003c/p>\n\u003cp>Growing up in Italy, Coppola played drums with a protest band. When he moved to San Francisco he joined the \u003cspan style=\"font-weight: 400\">Brass Liberation Orchestra, a band that plays at progressive demonstrations around the Bay Area. An association called Voice of Roma, a cultural nonprofit that promotes Roma music and works to dismantle stereotypes about Roma people, invited him and the other band members to do a six-month course with a master teacher of Roma music. That’s where Coppola learned to play a Balkan drum called the “tapan,” or “davul.” \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\">After I got like an initial grip on the style, I was hooked — it was like a drug,” Coppola explains. He and four other students from the course founded Inspector Gadje.\u003c/span>\u003c/p>\n\u003cp>They’ve now been playing Balkan music in the Bay Area for the last 11 years. He says their music has evolved over that time and that while they knew they could never play Balkan music like they do in the Balkans, he says they created their own American, Bay Area style that they have been playing at biannual Balkan parties since 2013.\u003c/p>\n\u003cp>“It kind of became almost like a ritual for this community here in San Francisco and the greater Bay Area to meet twice a year,” he says about their parties. “When I do the programming, I always try to have a different or new element per show so that there’s always a change in the color and the feeling of the evening.”\u003c/p>\n\u003cp>Another huge influence in the band has been Coppola’s fellow band member Ismail Lumanovski, who lives in New York but whom Coppola says they try to fly out to San Francisco at least once a year to perform and play with Inspector Gadje. Lumanovski started out as a prodigy in the Roma community, which, Coppola adds, is no mean feat.\u003c/p>\n\u003cp>“Ismail stood out and somebody saw him and give him a scholarship to come and do a senior high school summer program here,” says Coppola of Lumanovski, whom he says is now known throughout the Balkans and Turkey. “Then Juilliard landed their eyes on him and gave him a full-ride scholarship. … He became the first clarinetist at Juilliard. So now his career is very interesting, because he will play featured solos on various symphonies and orchestras around the world, and then he has his own project called New York Gypsy All-Stars, which is sort of like jazz, for lack of a better word.”\u003c/p>\n\u003cp>Ultimately, the Bay Area has also been a huge influence in the music they make.\u003c/p>\n\u003cp>“Coming to the Bay and seeing how all these different cultural backgrounds interact with each other, I feel like that energy and that combination of people leads us to new spots in the music that maybe have not been tried because we haven’t had this particular mix of personnel in the same room practicing together,” he says. “The level of focus has to be there. But we always try to goof off and have a great time on stage either way. And, yeah, a lot of times I have a hard time falling asleep after.”\u003c/p>\n\u003cp>The band’s members include Danny Cao, Noah Levitt, Will Magid, Shane Cox, Ismail Lumanovski, Morgan Nilsen, Mike Perlmutter, Greg Jenkins, Ofir Uziel, Paul Marini, Joshua Sirotiak, Jeff Giaquinto, Greg Stevens, Greg Michalec, and Andrew Cohen.\u003c/p>\n\u003cp>You can hear Inspector Gadje live, performing at the \u003ca href=\"https://rickshawstop.com/seetickets-event/kafana-balkan-with-ismail-lumanovsky-and-inspector-gadje/\">Kafana Balkan Party at Rickshaw Stop\u003c/a>, 155 Fell St. and Van Ness Avenue in San Francisco, on Feb. 3.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Updated 5:00 p.m. Monday\u003c/em>\u003c/p>\n\u003cp>City Lights management has officially recognized its first employee union, confirmed Stacey Lewis, vice president and director of publicity, marketing and sales at the world-famous independent bookstore and publishing house.\u003c/p>\n\u003cp>The move paves the way for booksellers and other eligible employees, who formed City Lights Workers Union, to begin collective bargaining with representation from Industrial Workers of the World, Local 660.\u003c/p>\n\u003cp>“I feel happy that we are now one step closer to bargaining for a better, more equitable workplace,” said Joan Toledo, 35, a worker organizer at City Lights. “I imagine that all my co-workers feel the same way because, who doesn’t want to work in a better workplace?”\u003c/p>\n\u003cp>In a statement, City Lights said managers will work with union representatives to create a “more sustainable future” for staffers.\u003c/p>\n\u003cp>\u003cstrong>Original Story\u003c/strong>\u003c/p>\n\u003cp>Workers at the celebrated \u003ca href=\"https://www.kqed.org/arts/tag/city-lights\">City Lights Booksellers & Publishers\u003c/a> in San Francisco have chosen to unionize, KQED has learned.\u003c/p>\n\u003cp>Most of the 16 or so eligible employees recently signed union-authorization cards and joined the \u003ca href=\"https://www.iww.org/\">Industrial Workers of the World\u003c/a> Local 660. The labor organization, established in 1905, represents nearly 9,000 workers across North America.\u003c/p>\n\u003cp>Booksellers at City Lights told KQED that some of the top goals for workers are raising “abysmal” pay, establishing a formal process to address grievances and increasing job security for part-time workers.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Decca Muldowney, employee, City Lights\"]‘We think that the union is a way to protect City Lights for the future and to help further the original radical vision of the bookstore and the publishing house.’[/pullquote]“What we want more than anything is for City Lights to be a sustainable, thriving community,” said Decca Muldowney, 34, who makes San Francisco’s minimum wage of $18.07 per hour. “We think that the union is a way to protect City Lights for the future and to help further the original radical vision of the bookstore and the publishing house.”\u003c/p>\n\u003cp>City Lights was \u003ca href=\"https://citylights.com/our-story/a-short-history-of-city-lights/\">co-founded\u003c/a> in 1953 by acclaimed poet and activist \u003ca href=\"https://www.kqed.org/arts/13893125/lawrence-ferlinghetti-beat-poet-and-small-press-publisher-dies-at-101\">Lawrence Ferlinghetti\u003c/a> as a literary meeting place. 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But if their employer refuses to recognize it as their representative for collective bargaining, workers may turn to the National Labor Relations Board to hold an election and certify the vote results.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Recent \u003ca href=\"https://www.npr.org/2023/08/30/1196712525/the-latest-gallop-poll-finds-two-thirds-of-americans-approve-of-unions\">polls\u003c/a> suggest most Americans approve of unions. But only \u003ca href=\"https://www.bls.gov/news.release/pdf/union2.pdf\">10% (PDF)\u003c/a> of wage and salaried workers in the U.S. were members last year, down from 20% in 1983, according to the U.S. Bureau of Labor Statistics. Still, Noah Ross, a delegate with the IWW said union interest is high among bookstores, nonprofits and businesses in the Bay Area.\u003c/p>\n\u003cp>“We are at a moment in labor at large where people want more voice in their contracts. They want a seat at the table in negotiating how they are treated at their workplace,” said Ross, who previously worked at Moe’s Books in Berkeley, which also joined the IWW.\u003c/p>\n\u003cp>City Lights bargaining collectively would be “huge for the larger bookstore union wave we’ve seen and also for Labor,” he added.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Elaine Katzenberger, executive director, City Lights\"]‘If unionization can provide us with new tools for helping us to better achieve these ideals, we absolutely welcome them.’[/pullquote]Previous efforts to unionize workers at the bookstore fizzled, said Muldowney, a writer and freelance journalist who previously worked at The Daily Beast.\u003c/p>\n\u003cp>But this time, a months-long effort to organize has led to workers asking management to voluntarily \u003ca href=\"https://www.nlrb.gov/about-nlrb/rights-we-protect/the-law/employees/your-right-to-form-a-union#:~:text=If%20a%20majority%20of%20workers,NLRB%20will%20conduct%20an%20election.\">recognize\u003c/a> their union, with a decision expected by next Tuesday at noon.\u003c/p>\n\u003cp>“We do intend to recognize this union,” City Lights Executive Director Elaine Katzenberger wrote in an email to KQED.\u003c/p>\n\u003cp>“City Lights has always been actively engaged in the project of creating and evolving a fulfilling, equitable, and humane workplace. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated 5:00 p.m. Monday\u003c/em>\u003c/p>\n\u003cp>City Lights management has officially recognized its first employee union, confirmed Stacey Lewis, vice president and director of publicity, marketing and sales at the world-famous independent bookstore and publishing house.\u003c/p>\n\u003cp>The move paves the way for booksellers and other eligible employees, who formed City Lights Workers Union, to begin collective bargaining with representation from Industrial Workers of the World, Local 660.\u003c/p>\n\u003cp>“I feel happy that we are now one step closer to bargaining for a better, more equitable workplace,” said Joan Toledo, 35, a worker organizer at City Lights. “I imagine that all my co-workers feel the same way because, who doesn’t want to work in a better workplace?”\u003c/p>\n\u003cp>In a statement, City Lights said managers will work with union representatives to create a “more sustainable future” for staffers.\u003c/p>\n\u003cp>\u003cstrong>Original Story\u003c/strong>\u003c/p>\n\u003cp>Workers at the celebrated \u003ca href=\"https://www.kqed.org/arts/tag/city-lights\">City Lights Booksellers & Publishers\u003c/a> in San Francisco have chosen to unionize, KQED has learned.\u003c/p>\n\u003cp>Most of the 16 or so eligible employees recently signed union-authorization cards and joined the \u003ca href=\"https://www.iww.org/\">Industrial Workers of the World\u003c/a> Local 660. The labor organization, established in 1905, represents nearly 9,000 workers across North America.\u003c/p>\n\u003cp>Booksellers at City Lights told KQED that some of the top goals for workers are raising “abysmal” pay, establishing a formal process to address grievances and increasing job security for part-time workers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What we want more than anything is for City Lights to be a sustainable, thriving community,” said Decca Muldowney, 34, who makes San Francisco’s minimum wage of $18.07 per hour. “We think that the union is a way to protect City Lights for the future and to help further the original radical vision of the bookstore and the publishing house.”\u003c/p>\n\u003cp>City Lights was \u003ca href=\"https://citylights.com/our-story/a-short-history-of-city-lights/\">co-founded\u003c/a> in 1953 by acclaimed poet and activist \u003ca href=\"https://www.kqed.org/arts/13893125/lawrence-ferlinghetti-beat-poet-and-small-press-publisher-dies-at-101\">Lawrence Ferlinghetti\u003c/a> as a literary meeting place. The cultural institution, perhaps best known for first publishing Allen Ginsburg’s \u003ca href=\"https://citylights.com/pocket-poets-series/howl-other-poems-pocket-poets-4/\">\u003cem>Howl and Other Poems\u003c/em>\u003c/a> and its ensuing \u003ca href=\"https://www.aclunc.org/blog/fighting-censorship-victories-1957-2017-aclutimemachine\">battle for freedom of speech\u003c/a> with the state, was named a historic landmark in 2001.\u003c/p>\n\u003cp>Workers have the right to\u003ca href=\"https://www.nlrb.gov/about-nlrb/rights-we-protect/the-law/employees/your-right-to-form-a-union#:~:text=If%20a%20majority%20of%20workers,NLRB%20will%20conduct%20an%20election.\"> start their own unions or join one\u003c/a>. But if their employer refuses to recognize it as their representative for collective bargaining, workers may turn to the National Labor Relations Board to hold an election and certify the vote results.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Berkeley-raised producer and vocalist \u003ca href=\"https://isaiahmostafa.com\">Isaiah Mostafa\u003c/a> says there’s a certain authenticity within the art scene in the Bay Area, in part because of the historical legacy of revolutionary movements and organizations like the Black Panther Party.\u003c/p>\n\u003cp>Mostafa’s father was a producer, MC, DJ, and member of Aztlan Nation, a political Chicano hip-hop group from West Berkeley and Oakland. His mother was a singer and MC and his grandmother was a folk musician as well.\u003c/p>\n\u003cp>Mostafa describes his style as “music to stretch to.”\u003c/p>\n\u003cp>“I like focusing on music that isn’t even too focused on the words sometimes,” he said. “I like to listen to music that I don’t know what they’re saying…it’s in different languages.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the pandemic, Mostafa moved to Hawaii and created a challenge where he would release a new song every week for 37 weeks on streaming platforms.\u003c/p>\n\u003cp>“I just grew exponentially in that time,” he said. “I got so much better at the start, finish, [and] release [of music]. I got so much better at believing in myself, I got so much better at planning.”\u003c/p>\n\u003cp>\u003ca href=\"https://isaiahmostafa.bandcamp.com/track/graveshift\">“Graveshift”\u003c/a> is the first song in his next 37-week challenge. Mostafa plans to release new singles every Thursday. The concept of the song is about being caught in a cycle of working long hours and hating a job while being in a codependent relationship.\u003c/p>\n\u003cp>“I hope that my song ‘Graveshift’ helps people believe in themselves and realize how much they don’t have to be doing the thing that they don’t like doing,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The song includes guitar from \u003ca href=\"https://open.spotify.com/artist/5pKREAhqqKr4KhHMGTfVFo?si=nrZkhI4hQgGGkhgVdD1L4Q\">Made by Harry\u003c/a> and synth and additional production from \u003ca href=\"https://open.spotify.com/artist/0aohD21adEpTIXkuvDVy9K\">Lehnen Raphael\u003c/a>. Isaiah Mostafa will be performing at the \u003ca href=\"https://www.sofarsounds.com/events/53384\">SoFar Sounds show\u003c/a> hosted at the Ground Floor social club in Oakland on Jan. 20 at 7:30 p.m.\u003c/p>\n\n",
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"excerpt": "In this episode of the Sunday Music Drop, producer and vocalist Isaiah Mostafa shares his song \"Graveshift\" about taking risks and leaving a job in order to follow your dreams.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Berkeley-raised producer and vocalist \u003ca href=\"https://isaiahmostafa.com\">Isaiah Mostafa\u003c/a> says there’s a certain authenticity within the art scene in the Bay Area, in part because of the historical legacy of revolutionary movements and organizations like the Black Panther Party.\u003c/p>\n\u003cp>Mostafa’s father was a producer, MC, DJ, and member of Aztlan Nation, a political Chicano hip-hop group from West Berkeley and Oakland. His mother was a singer and MC and his grandmother was a folk musician as well.\u003c/p>\n\u003cp>Mostafa describes his style as “music to stretch to.”\u003c/p>\n\u003cp>“I like focusing on music that isn’t even too focused on the words sometimes,” he said. “I like to listen to music that I don’t know what they’re saying…it’s in different languages.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the pandemic, Mostafa moved to Hawaii and created a challenge where he would release a new song every week for 37 weeks on streaming platforms.\u003c/p>\n\u003cp>“I just grew exponentially in that time,” he said. “I got so much better at the start, finish, [and] release [of music]. I got so much better at believing in myself, I got so much better at planning.”\u003c/p>\n\u003cp>\u003ca href=\"https://isaiahmostafa.bandcamp.com/track/graveshift\">“Graveshift”\u003c/a> is the first song in his next 37-week challenge. Mostafa plans to release new singles every Thursday. The concept of the song is about being caught in a cycle of working long hours and hating a job while being in a codependent relationship.\u003c/p>\n\u003cp>“I hope that my song ‘Graveshift’ helps people believe in themselves and realize how much they don’t have to be doing the thing that they don’t like doing,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The song includes guitar from \u003ca href=\"https://open.spotify.com/artist/5pKREAhqqKr4KhHMGTfVFo?si=nrZkhI4hQgGGkhgVdD1L4Q\">Made by Harry\u003c/a> and synth and additional production from \u003ca href=\"https://open.spotify.com/artist/0aohD21adEpTIXkuvDVy9K\">Lehnen Raphael\u003c/a>. Isaiah Mostafa will be performing at the \u003ca href=\"https://www.sofarsounds.com/events/53384\">SoFar Sounds show\u003c/a> hosted at the Ground Floor social club in Oakland on Jan. 20 at 7:30 p.m.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tales-of-celebration-stories-of-survival-at-this-beloved-east-bay-swap-meet",
"title": "Tales of Celebration, Stories of Survival at This Beloved East Bay Swap Meet",
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"headTitle": "Tales of Celebration, Stories of Survival at This Beloved East Bay Swap Meet | KQED",
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"content": "\u003cp>\u003cem>This story was produced by \u003ca href=\"https://www.eltimpano.org/\">El Tímpano\u003c/a>, a bilingual nonprofit news outlet that amplifies the voices of Latino and Mayan immigrants in Oakland and the wider Bay Area.\u003c/em>\u003c/p>\n\u003cp>Like swap meets throughout the country, the Coliseum Swap Meet, an open-air market known as La Pulga in East Oakland, is a reflection of the community it serves. Here, all are welcome to taste the flavors of Mexico, enjoy a Michelada under the shade, buy household goods, produce, sweets, croc charms, flowers, hardware, clothes, jewelry, cosmetics, electronics and more at a discounted price.\u003c/p>\n\u003cp>Children can run around a playground or ride a colorful choo-choo train that snakes around the aisles. Friends can meet for a beer and dance to live bands that perform on weekend evenings. La Pulga certainly provides.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED.jpg\" alt=\"Two photos show a couple dancing and a child riding in a stroller as bubbles float past.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-11972355 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED.jpg\" alt=\"Two photos show people browsing wares in market stalls and a musician singing into a microphone.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003c/p>\n\u003cp>For three Saturdays in October, the El Tímpano team set up a booth at La Pulga to engage with the community. We offered instant film portraits for free, and nearly everyone who participated in the portrait session agreed to a recorded interview. Almost 60 patrons and 14 vendors spoke to El Tímpano about how they spend their time and money at La Pulga.\u003c/p>\n\u003cp>We heard tales of celebration, camaraderie, and some of heartbreak, but mostly, we heard stories of survival.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972356\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED.jpg\" alt=\"Three photos show a person in a cowboy hat, an assortment of jewelry, and two people carrying a large pot.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED.jpg\" alt=\"Three photos showing a large crowd in an outdoor setting.\" width=\"2000\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED-800x337.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED-1536x647.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED-1920x809.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003c/p>\n\u003cp>Nearly every day, Samuelin Martinez, 73, can be found walking the grounds of La Pulga. Martinez calls his laps around the market “prayer walks.”\u003c/p>\n\u003cfigure id=\"attachment_11972359\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972359 size-large\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED-1020x1214.jpg\" alt=\"A person with a moustache waves while sitting for a photo.\" width=\"640\" height=\"762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED-1020x1214.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED-800x952.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED-1291x1536.jpg 1291w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED.jpg 1681w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Samuelin Martínez\u003c/figcaption>\u003c/figure>\n\u003cp>Martinez describes it as if he’s talking about a sacred place. He has long been a community activist and is keenly aware of the area’s history — he used to live in High Street Homes, temporary public housing that once stood near where La Pulga stands now. With the help of his cane, Martinez now spends his days slowly walking among hundreds of booths run mostly by Spanish-speaking vendors. He talks to anyone who crosses his path and greets them with a wide, mustachioed smile.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1.jpg\" alt=\"Six instant photos including two people wearing cowboy hats, a person with wings tattooed on their back and a band on stage.\" width=\"2500\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-1536x1245.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-2048x1660.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-1920x1556.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\" />\u003c/p>\n\u003cp>Many vendors have found it hard to stay afloat in the aftermath of the COVID-19 pandemic. Inflation has also impacted sales. Many told El Tímpano that the flea market isn’t as large or packed with people as before the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_11972426\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972426 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2024/01/240111-LA-PULGA-MARIA-VILLA-01.jpg\" alt=\"Two photos: on the left, a person stands amidst varied wares in a market stall. On the right, several Día de los Muertos statues on display in a market stall.\" width=\"2000\" height=\"1130\" />\u003cfigcaption class=\"wp-caption-text\">María Villa\u003c/figcaption>\u003c/figure>\n\u003cp>María Villa, 77, an immigrant from Mexico, was a single mother of two. She’s known around La Pulga as “Tía María” and has sold artisan jugs, pots, toys and decorations for 30 years. The sales from her booth helped put her children in college. But, Villa adds, business recently has been slow.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2.jpg\" alt=\"Six instant photos including two people playing music, an array of baseball caps and a pan standing beside a truck.\" width=\"2500\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-1536x1245.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-2048x1660.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-1920x1556.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\" />\u003c/p>\n\u003cp>Blanca Luna, 62, is an immigrant from Guatemala who has also sold at La Pulga for 30 years. Between the flashy lights of LED signs for sale and the noises coming from the small electronic toys she sells, her booth is hard to miss.\u003c/p>\n\u003cfigure id=\"attachment_11972431\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972431 size-large\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED-1020x1224.jpg\" alt=\"A person in sunglasses standing in front of an array of LED signs.\" width=\"640\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED-1020x1224.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED-800x960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED-1280x1536.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED.jpg 1667w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Blanca Luna\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Luna says her profits today are not as good as they were when she first opened up shop. On a good weekend, she says, she might take home between $200–$250.\u003c/p>\n\u003cp>She has noticed that patrons are spending less, and she cannot compete with online sales. On top of that, her booth location will be auctioned in December, and she’s unsure if she can afford to keep it if she is outbid.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-11972447 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4.jpg\" alt=\"Six instant photos including a couple dancing, a clown playing music and a Pancho Villa sticker on a car bumper.\" width=\"2500\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-1536x1245.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-2048x1660.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-1920x1556.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\" />\u003c/p>\n\u003cp>La Pulga has also made recent headlines. Two men were arrested in August for allegedly selling $85,000 worth of stolen merchandise.\u003c/p>\n\u003cp>On Oct. 21, Omar Oñate Rivas told El Tímpano he was visiting La Pulga for the first time to try to find stolen construction tools that were taken from his friend’s car in San Jose.\u003c/p>\n\u003cfigure id=\"attachment_11972358\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972358 size-large\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED-1020x1219.jpg\" alt=\"A person with short hair sits for a photo.\" width=\"640\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED-1020x1219.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED-800x956.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED-1285x1536.jpg 1285w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED.jpg 1673w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Omar Oñate Rivas\u003c/figcaption>\u003c/figure>\n\u003cp>Though Oñate Rivas didn’t find the stolen items that day, he could purchase budget-friendly construction supplies he could use for his job as a day laborer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972446\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3.jpg\" alt=\"Six instant photos including a woman singing, a series of children's train cars and an outdoor space filled with shopping stalls.\" width=\"2500\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-1536x1245.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-2048x1660.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-1920x1556.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\" />\u003c/p>\n\u003cp>Though El Tímpano’s goal at La Pulga was not to verify whether goods sold at the market were stolen, we observed a cycle of supply and demand that makes clear how challenging it can be to afford to live in the Bay Area. Immigrants might find work as day laborers or in construction, but they often need to buy their tools — equipment that could amount to hundreds of dollars that they may not have.\u003c/p>\n\u003cp>Cesar, whom El Tímpano is identifying by first name only because he is underage, has sold used construction tools at La Pulga for nearly a year with three partners. Their hundreds of tools for sale are laid out on the floor in chunky rows that resemble farm fields.\u003c/p>\n\u003cfigure id=\"attachment_11972397\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972397 size-large\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED-1020x1220.jpg\" alt=\"A person wears a Whitney Houston sweatshirt while standing beside an array of power tools in an outdoor setting.\" width=\"640\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED-1020x1220.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED-800x957.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED-1284x1536.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED.jpg 1672w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Cesar\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, La Pulga’s ecosystem is a microcosm of life in East Oakland, like a terrarium filled with loud music and the smell of new leather.\u003c/p>\n\u003cp>“This is the only work I’ve been able to invent in order to survive,” says Patricia Beltrán in Spanish. She lost her job during the pandemic and recently separated from her husband. She sells a mish-mash of items, from craft supplies to clothes. At La Pulga, she can bring her children with her so that she doesn’t have to pay for childcare.\u003c/p>\n\u003cfigure id=\"attachment_11972428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972428 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2024/01/240111-LA-PULGA-PATRICIA-BELTRÁN-01.jpg\" alt=\"Two photos: on the left, person with long hair stands beside a market stall. On the right, the same person with long hair sits for a photo with a child.\" width=\"2000\" height=\"1130\" />\u003cfigcaption class=\"wp-caption-text\">Patricia Beltrán\u003c/figcaption>\u003c/figure>\n\u003cp>“Oakland is a beautiful city … I respect everyone, from the young people who make donuts — you’ve got to be brave to make donuts, you’ve got to be brave for everything,” Beltrán says.\u003c/p>\n\u003cp>\u003ci>This story includes contributions from El Tímpano’s Hiram Durán, Mayra Sierra, Katherine Nagasawa, Luis Ángel Urbina, Jasmine Aguilera, Mayra Sierra, Vanessa Flores, Ximena Loeza, Maye Primera, Martha Calmo Ramirez and Madeleine Bair.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eltimpano.org/reporting/memories-of-the-market/\"> \u003ci>El Tímpano’s original version of the story — in English and Spanish — can be found here.\u003c/i>\u003c/a>\u003c/p>\n",
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"excerpt": "Dedicated patrons and vendors at the Coliseum Swap Meet in Oakland, affectionately known as 'La Pulga,' share the market's significance in their daily lives through striking photographs.",
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"title": "Tales of Celebration, Stories of Survival at This Beloved East Bay Swap Meet | KQED",
"description": "Dedicated patrons and vendors at the Coliseum Swap Meet in Oakland, affectionately known as 'La Pulga,' share the market's significance in their daily lives through striking photographs.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was produced by \u003ca href=\"https://www.eltimpano.org/\">El Tímpano\u003c/a>, a bilingual nonprofit news outlet that amplifies the voices of Latino and Mayan immigrants in Oakland and the wider Bay Area.\u003c/em>\u003c/p>\n\u003cp>Like swap meets throughout the country, the Coliseum Swap Meet, an open-air market known as La Pulga in East Oakland, is a reflection of the community it serves. Here, all are welcome to taste the flavors of Mexico, enjoy a Michelada under the shade, buy household goods, produce, sweets, croc charms, flowers, hardware, clothes, jewelry, cosmetics, electronics and more at a discounted price.\u003c/p>\n\u003cp>Children can run around a playground or ride a colorful choo-choo train that snakes around the aisles. Friends can meet for a beer and dance to live bands that perform on weekend evenings. La Pulga certainly provides.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED.jpg\" alt=\"Two photos show a couple dancing and a child riding in a stroller as bubbles float past.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-11972355 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED.jpg\" alt=\"Two photos show people browsing wares in market stalls and a musician singing into a microphone.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003c/p>\n\u003cp>For three Saturdays in October, the El Tímpano team set up a booth at La Pulga to engage with the community. We offered instant film portraits for free, and nearly everyone who participated in the portrait session agreed to a recorded interview. Almost 60 patrons and 14 vendors spoke to El Tímpano about how they spend their time and money at La Pulga.\u003c/p>\n\u003cp>We heard tales of celebration, camaraderie, and some of heartbreak, but mostly, we heard stories of survival.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972356\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED.jpg\" alt=\"Three photos show a person in a cowboy hat, an assortment of jewelry, and two people carrying a large pot.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED.jpg\" alt=\"Three photos showing a large crowd in an outdoor setting.\" width=\"2000\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED-800x337.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED-1536x647.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-06-KQED-1920x809.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003c/p>\n\u003cp>Nearly every day, Samuelin Martinez, 73, can be found walking the grounds of La Pulga. Martinez calls his laps around the market “prayer walks.”\u003c/p>\n\u003cfigure id=\"attachment_11972359\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972359 size-large\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED-1020x1214.jpg\" alt=\"A person with a moustache waves while sitting for a photo.\" width=\"640\" height=\"762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED-1020x1214.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED-800x952.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED-1291x1536.jpg 1291w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-08-KQED.jpg 1681w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Samuelin Martínez\u003c/figcaption>\u003c/figure>\n\u003cp>Martinez describes it as if he’s talking about a sacred place. He has long been a community activist and is keenly aware of the area’s history — he used to live in High Street Homes, temporary public housing that once stood near where La Pulga stands now. With the help of his cane, Martinez now spends his days slowly walking among hundreds of booths run mostly by Spanish-speaking vendors. He talks to anyone who crosses his path and greets them with a wide, mustachioed smile.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1.jpg\" alt=\"Six instant photos including two people wearing cowboy hats, a person with wings tattooed on their back and a band on stage.\" width=\"2500\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-1536x1245.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-2048x1660.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-1-1920x1556.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\" />\u003c/p>\n\u003cp>Many vendors have found it hard to stay afloat in the aftermath of the COVID-19 pandemic. Inflation has also impacted sales. Many told El Tímpano that the flea market isn’t as large or packed with people as before the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_11972426\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972426 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2024/01/240111-LA-PULGA-MARIA-VILLA-01.jpg\" alt=\"Two photos: on the left, a person stands amidst varied wares in a market stall. On the right, several Día de los Muertos statues on display in a market stall.\" width=\"2000\" height=\"1130\" />\u003cfigcaption class=\"wp-caption-text\">María Villa\u003c/figcaption>\u003c/figure>\n\u003cp>María Villa, 77, an immigrant from Mexico, was a single mother of two. She’s known around La Pulga as “Tía María” and has sold artisan jugs, pots, toys and decorations for 30 years. The sales from her booth helped put her children in college. But, Villa adds, business recently has been slow.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2.jpg\" alt=\"Six instant photos including two people playing music, an array of baseball caps and a pan standing beside a truck.\" width=\"2500\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-1536x1245.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-2048x1660.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-2-1920x1556.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\" />\u003c/p>\n\u003cp>Blanca Luna, 62, is an immigrant from Guatemala who has also sold at La Pulga for 30 years. Between the flashy lights of LED signs for sale and the noises coming from the small electronic toys she sells, her booth is hard to miss.\u003c/p>\n\u003cfigure id=\"attachment_11972431\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972431 size-large\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED-1020x1224.jpg\" alt=\"A person in sunglasses standing in front of an array of LED signs.\" width=\"640\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED-1020x1224.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED-800x960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED-1280x1536.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-45-KQED.jpg 1667w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Blanca Luna\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Luna says her profits today are not as good as they were when she first opened up shop. On a good weekend, she says, she might take home between $200–$250.\u003c/p>\n\u003cp>She has noticed that patrons are spending less, and she cannot compete with online sales. On top of that, her booth location will be auctioned in December, and she’s unsure if she can afford to keep it if she is outbid.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-11972447 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4.jpg\" alt=\"Six instant photos including a couple dancing, a clown playing music and a Pancho Villa sticker on a car bumper.\" width=\"2500\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-1536x1245.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-2048x1660.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-4-1920x1556.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\" />\u003c/p>\n\u003cp>La Pulga has also made recent headlines. Two men were arrested in August for allegedly selling $85,000 worth of stolen merchandise.\u003c/p>\n\u003cp>On Oct. 21, Omar Oñate Rivas told El Tímpano he was visiting La Pulga for the first time to try to find stolen construction tools that were taken from his friend’s car in San Jose.\u003c/p>\n\u003cfigure id=\"attachment_11972358\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972358 size-large\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED-1020x1219.jpg\" alt=\"A person with short hair sits for a photo.\" width=\"640\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED-1020x1219.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED-800x956.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED-1285x1536.jpg 1285w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-07-KQED.jpg 1673w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Omar Oñate Rivas\u003c/figcaption>\u003c/figure>\n\u003cp>Though Oñate Rivas didn’t find the stolen items that day, he could purchase budget-friendly construction supplies he could use for his job as a day laborer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11972446\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3.jpg\" alt=\"Six instant photos including a woman singing, a series of children's train cars and an outdoor space filled with shopping stalls.\" width=\"2500\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-1536x1245.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-2048x1660.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/La-Pulga-Block-3-1920x1556.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\" />\u003c/p>\n\u003cp>Though El Tímpano’s goal at La Pulga was not to verify whether goods sold at the market were stolen, we observed a cycle of supply and demand that makes clear how challenging it can be to afford to live in the Bay Area. Immigrants might find work as day laborers or in construction, but they often need to buy their tools — equipment that could amount to hundreds of dollars that they may not have.\u003c/p>\n\u003cp>Cesar, whom El Tímpano is identifying by first name only because he is underage, has sold used construction tools at La Pulga for nearly a year with three partners. Their hundreds of tools for sale are laid out on the floor in chunky rows that resemble farm fields.\u003c/p>\n\u003cfigure id=\"attachment_11972397\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972397 size-large\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED-1020x1220.jpg\" alt=\"A person wears a Whitney Houston sweatshirt while standing beside an array of power tools in an outdoor setting.\" width=\"640\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED-1020x1220.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED-800x957.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED-1284x1536.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240111-La-Pulga-HD-46-KQED.jpg 1672w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Cesar\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, La Pulga’s ecosystem is a microcosm of life in East Oakland, like a terrarium filled with loud music and the smell of new leather.\u003c/p>\n\u003cp>“This is the only work I’ve been able to invent in order to survive,” says Patricia Beltrán in Spanish. She lost her job during the pandemic and recently separated from her husband. She sells a mish-mash of items, from craft supplies to clothes. At La Pulga, she can bring her children with her so that she doesn’t have to pay for childcare.\u003c/p>\n\u003cfigure id=\"attachment_11972428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11972428 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2024/01/240111-LA-PULGA-PATRICIA-BELTRÁN-01.jpg\" alt=\"Two photos: on the left, person with long hair stands beside a market stall. On the right, the same person with long hair sits for a photo with a child.\" width=\"2000\" height=\"1130\" />\u003cfigcaption class=\"wp-caption-text\">Patricia Beltrán\u003c/figcaption>\u003c/figure>\n\u003cp>“Oakland is a beautiful city … I respect everyone, from the young people who make donuts — you’ve got to be brave to make donuts, you’ve got to be brave for everything,” Beltrán says.\u003c/p>\n\u003cp>\u003ci>This story includes contributions from El Tímpano’s Hiram Durán, Mayra Sierra, Katherine Nagasawa, Luis Ángel Urbina, Jasmine Aguilera, Mayra Sierra, Vanessa Flores, Ximena Loeza, Maye Primera, Martha Calmo Ramirez and Madeleine Bair.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eltimpano.org/reporting/memories-of-the-market/\"> \u003ci>El Tímpano’s original version of the story — in English and Spanish — can be found here.\u003c/i>\u003c/a>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Top 5 Books, Vinyl Records San Franciscans Checked Out at Libraries in 2023",
"headTitle": "Top 5 Books, Vinyl Records San Franciscans Checked Out at Libraries in 2023 | KQED",
"content": "\u003cp>Earlier this month, the San Francisco Public Library shared a list of \u003ca href=\"https://sfpl.org/releases/2023/11/22/books-you-loved-heres-what-san-francisco-was-reading-and-listening-2023\">the top fiction and nonfiction books read by library patrons this year\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Dysfunctional family memoirs,” said Jaime Wong, deputy director of communications, was one of the themes. “That speaks to people wanting to read about the experience of someone who has trials and tribulations but also demonstrates a strength to overcome.”\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#TopPrintFiction\">Top Print Fiction\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#TopeBooksFiction\">Top eBooks Fiction\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#TopPrintNonfiction\">Top Print Nonfiction\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#TopeBookNonfiction\">Top eBook Nonfiction\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#TopTeenFiction\">Top Teen Fiction\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#TopVinyl\">Top Vinyl\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>So, what were the top five most-read books across all formats, including fiction and nonfiction?\u003c/p>\n\u003col>\n\u003cli>\u003cem>Tomorrow, and Tomorrow, and Tomorrow —\u003c/em> Zevin, Gabrielle (14083)\u003c/li>\n\u003cli>\u003cem>Lessons in Chemistry\u003c/em> — Garmus, Bonnie (12314)\u003c/li>\n\u003cli>\u003cem>Spare\u003c/em> — Prince Harry (11936)\u003c/li>\n\u003cli>\u003cem>I’m Glad My Mom Died\u003c/em> — McCurdy, Jennette (10195)\u003c/li>\n\u003cli>\u003cem>Demon Copperhead\u003c/em> — Kingsolver, Barbara (9179)\u003c/li>\n\u003c/ol>\n\u003cp>All are bestsellers published in the last couple of years that received national recognition. The top books show that San Franciscans are “tapped into a bigger conversation about books and want to be a part of the cultural discourse,” Wong said.\u003c/p>\n\u003cp>While the books cover different topics, from the struggle with addiction and poverty in Appalachia to the dysfunction of the British royal family, Wong says they all have “a riveting storyline, and they allow readers to step into the shoes of someone else and experience, just for a moment, another life.”\u003c/p>\n\u003cp>In addition to books, the library also included the top vinyl albums of the year, according to library circulation. “The love of vinyl is absolutely in line with San Francisco’s legendary music history,” Wong said. The library saw a rise in vinyl checkouts during the pandemic, and in 2022, they increased the collection by more than 50%, adding thousands of albums, including both contemporary and classic music. In fiscal year 2019, Wong said they circulated 7,226 records, and in fiscal year 2023, the circulation increased to 17,076, up 136%.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wong, an avid reader and someone who loves being surrounded by books for her job, “It’s like being in a candy store all day,” often recommends Gabrielle Zevin’s \u003cem>Tomorrow, and Tomorrow, and Tomorrow \u003c/em>and\u003cem> This Is Ear Hustle: Unflinching Stories of Everyday Prison Life \u003c/em>by Bay Area authors Nigel Poor and Earlonne Woods\u003cem>. \u003c/em>The book is based on the story of the first podcast created entirely inside a prison. “You will come out of that book with an entirely new understanding of America’s carceral system,” Wong said.\u003c/p>\n\u003cp>Wong says the library has begun tracking data more closely over the past couple of years and is able to respond to demand from patrons.\u003c/p>\n\u003cp>“San Franciscans read quality books,” she said. “It’s a city deeply committed to a rich literary heritage.”\u003c/p>\n\u003cp>\u003cem>Here are the full lists by category, including links to KQED coverage:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca id=\"TopPrintFiction\">\u003c/a>Top Print Fiction\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>When No One Is Watching\u003c/em> by Alyssa Cole\u003c/li>\n\u003cli>\u003cem>Lessons in Chemistry\u003c/em> by Bonnie Garmus\u003c/li>\n\u003cli>\u003cem>Demon Copperhead\u003c/em> by Barbara Kingsolver (\u003ca href=\"https://www.kqed.org/forum/2010101894520/barbara-kingsolver-on-her-great-appalachian-novel-demon-copperhead\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Tomorrow, and Tomorrow, and Tomorrow\u003c/em> by Gabrielle Zevin (\u003ca href=\"https://www.kqed.org/forum/2010101891916/video-games-friendship-and-renewal-light-tomorrow-and-tomorrow-and-tomorrow\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>The Covenant of Water\u003c/em> by Abraham Verghese\u003c/li>\n\u003cli>\u003cem>Our Missing Hearts\u003c/em> by Celeste Ng (\u003ca href=\"https://www.npr.org/2022/10/13/1128629001/celeste-ngs-our-missing-hearts-explores-a-new-dystopia-through-a-teenagers-eyes\">Featured on NPR\u003c/a>)\u003c/li>\n\u003cli>\u003cem>When We Were Sisters\u003c/em> by Fatimah Asghar (\u003ca href=\"https://www.npr.org/2022/10/15/1129295163/poet-and-filmmaker-fatimah-asghars-debut-novel-is-when-we-were-sisters\">Featured on NPR\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Dry\u003c/em> by Neal Shusterman\u003c/li>\n\u003cli>\u003cem>Happy Place\u003c/em> by Emily Henry\u003c/li>\n\u003cli>\u003cem>Hello Beautiful\u003c/em> by Ann Napolitano\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong>\u003ca id=\"TopeBooksFiction\">\u003c/a>Top eBooks Fiction\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>Tomorrow, and Tomorrow, and Tomorrow\u003c/em> by Gabrielle Zevin\u003c/li>\n\u003cli>\u003cem>Lessons in Chemistry\u003c/em> by Bonnie Garmus\u003c/li>\n\u003cli>\u003cem>Happy Place\u003c/em> by Emily Henry\u003c/li>\n\u003cli>\u003cem>Demon Copperhead\u003c/em> by Barbara Kingsolver\u003c/li>\n\u003cli>\u003cem>Verity\u003c/em> by Colleen Hoover\u003c/li>\n\u003cli>\u003cem>Our Missing Hearts\u003c/em> by Celeste Ng\u003c/li>\n\u003cli>\u003cem>Cloud Cuckoo Land\u003c/em> by Anthony Doerr\u003c/li>\n\u003cli>\u003cem>The Paris Apartment\u003c/em> by Lucy Foley\u003c/li>\n\u003cli>\u003cem>It Starts With Us\u003c/em> by Colleen Hoover\u003c/li>\n\u003cli>\u003cem>Book Lovers\u003c/em> by Emily Henry\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong>\u003ca id=\"TopPrintNonfiction\">\u003c/a>Top Print Nonfiction\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>Spare\u003c/em> by Harry\u003c/li>\n\u003cli>\u003cem>The Light We Carry: Overcoming in Uncertain Times\u003c/em> by Michelle Obama\u003c/li>\n\u003cli>\u003cem>This Is Ear Hustle: Unflinching Stories of Everyday Prison Life\u003c/em> by Nigel Poor and Earlonne Woods (\u003ca href=\"https://www.npr.org/2022/10/15/1129295163/poet-and-filmmaker-fatimah-asghars-debut-novel-is-when-we-were-sisters\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Solito\u003c/em> by Javier Zamora (\u003ca href=\"https://www.kqed.org/forum/2010101890526/at-age-9-poet-javier-zamora-migrated-from-el-salvador-alone-in-solito-he-tells-that-story\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>I’m Glad My Mom Died\u003c/em> by Jennette McCurdy\u003c/li>\n\u003cli>\u003cem>Crying in H Mart\u003c/em> by Michelle Zauner (\u003ca href=\"https://www.kqed.org/forum/2010101883227/michelle-zauner\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Long Live the Tribe of Fatherless Girls\u003c/em> by T Kira Madden\u003c/li>\n\u003cli>\u003cem>Stay True\u003c/em> by Hua Hsu (\u003ca href=\"https://www.kqed.org/forum/2010101891144/with-zines-and-mixtapes-writer-hua-hsu-found-identity-friendship-and-consolation\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Why We Swim\u003c/em> by Bonnie Tsui (\u003ca href=\"https://www.kqed.org/forum/2010101882936/the-psychological-historical-and-personal-reasons-why-we-swim\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Poverty, by America\u003c/em> by Matthew Desmond (\u003ca href=\"https://www.kqed.org/forum/2010101892632/how-to-become-a-poverty-abolitionist\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong>\u003ca id=\"TopeBookNonfiction\">\u003c/a>Top eBook Nonfiction\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>Spare\u003c/em> by Prince Harry\u003c/li>\n\u003cli>\u003cem>I’m Glad My Mom Died\u003c/em> by Jennette McCurdy\u003c/li>\n\u003cli>\u003cem>Maybe You Should Talk to Someone: A Therapist, HER Therapist, and Our Lives Revealed\u003c/em> by Lori Gottlieb\u003c/li>\n\u003cli>\u003cem>Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants\u003c/em> by Robin Wall Kimmerer\u003c/li>\n\u003cli>\u003cem>Crying in H Mart\u003c/em> by Michelle Zauner\u003c/li>\n\u003cli>\u003cem>Stay True\u003c/em> by Hua Hsu\u003c/li>\n\u003cli>\u003cem>The Light We Carry: Overcoming in Uncertain Times\u003c/em> by Michelle Obama\u003c/li>\n\u003cli>\u003cem>Outlive: The Science and Art of Longevity\u003c/em> by Peter Attia\u003c/li>\n\u003cli>\u003cem>How to Do Nothing: Resisting the Attention Economy\u003c/em> by Jenny Odell (\u003ca href=\"https://www.kqed.org/forum/2010101892445/jenny-odell-saves-time-and-herself-by-living-beyond-the-clock\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Adult Children of Emotionally Immature Parents: How to Heal from Distant, Rejecting, or Self-Involved Parents\u003c/em> by Lindsay C. Gibson\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong>\u003ca id=\"TopTeenFiction\">\u003c/a>Top Teen Fiction\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>A Court of Thorns and Roses\u003c/em> by Sarah J. Maas\u003c/li>\n\u003cli>\u003cem>The Summer I Turned Pretty\u003c/em> by Jenny Han\u003c/li>\n\u003cli>\u003cem>The Hunger Games\u003c/em> by Suzanne Collins\u003c/li>\n\u003cli>\u003cem>Six of Crows\u003c/em> by Leigh Bardugo\u003c/li>\n\u003cli>\u003cem>Heartstopper, Volume 1\u003c/em> by Alice Oseman\u003c/li>\n\u003cli>\u003cem>Catching Fire\u003c/em> by Suzanne Collins\u003c/li>\n\u003cli>\u003cem>American Born Chinese\u003c/em> by Gene Luen Yang\u003c/li>\n\u003cli>\u003cem>Last Night at the Telegraph Club\u003c/em> by Malinda Lo\u003c/li>\n\u003cli>\u003cem>A Good Girl’s Guide to Murder\u003c/em> by Holly Jackson\u003c/li>\n\u003cli>\u003cem>One of Us Is Lying\u003c/em> by Karen M. McManus\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong>\u003ca id=\"TopVinyl\">\u003c/a>Top Vinyl\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>Kind of Blue\u003c/em> by Miles Davis\u003c/li>\n\u003cli>\u003cem>The Dark Side of the Moon\u003c/em> by Pink Floyd\u003c/li>\n\u003cli>\u003cem>Evermore\u003c/em> by Taylor Swift\u003c/li>\n\u003cli>\u003cem>Abbey Road\u003c/em> by The Beatles\u003c/li>\n\u003cli>\u003cem>An Evening with Silk Sonic\u003c/em> by Thundercat\u003c/li>\n\u003cli>\u003cem>Purple Rain\u003c/em> by Prince\u003c/li>\n\u003cli>\u003cem>Folklore\u003c/em> by Taylor Swift\u003c/li>\n\u003cli>\u003cem>Fine Line\u003c/em> by Harry Styles\u003c/li>\n\u003cli>\u003cem>A Love Supreme\u003c/em> by John Coltrane\u003c/li>\n\u003cli>\u003cem>Thriller 25\u003c/em> by Michael Jackson\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\n",
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"title": "Top 5 Books, Vinyl Records San Franciscans Checked Out at Libraries in 2023 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month, the San Francisco Public Library shared a list of \u003ca href=\"https://sfpl.org/releases/2023/11/22/books-you-loved-heres-what-san-francisco-was-reading-and-listening-2023\">the top fiction and nonfiction books read by library patrons this year\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Dysfunctional family memoirs,” said Jaime Wong, deputy director of communications, was one of the themes. “That speaks to people wanting to read about the experience of someone who has trials and tribulations but also demonstrates a strength to overcome.”\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#TopPrintFiction\">Top Print Fiction\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#TopeBooksFiction\">Top eBooks Fiction\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#TopPrintNonfiction\">Top Print Nonfiction\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#TopeBookNonfiction\">Top eBook Nonfiction\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#TopTeenFiction\">Top Teen Fiction\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#TopVinyl\">Top Vinyl\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>So, what were the top five most-read books across all formats, including fiction and nonfiction?\u003c/p>\n\u003col>\n\u003cli>\u003cem>Tomorrow, and Tomorrow, and Tomorrow —\u003c/em> Zevin, Gabrielle (14083)\u003c/li>\n\u003cli>\u003cem>Lessons in Chemistry\u003c/em> — Garmus, Bonnie (12314)\u003c/li>\n\u003cli>\u003cem>Spare\u003c/em> — Prince Harry (11936)\u003c/li>\n\u003cli>\u003cem>I’m Glad My Mom Died\u003c/em> — McCurdy, Jennette (10195)\u003c/li>\n\u003cli>\u003cem>Demon Copperhead\u003c/em> — Kingsolver, Barbara (9179)\u003c/li>\n\u003c/ol>\n\u003cp>All are bestsellers published in the last couple of years that received national recognition. The top books show that San Franciscans are “tapped into a bigger conversation about books and want to be a part of the cultural discourse,” Wong said.\u003c/p>\n\u003cp>While the books cover different topics, from the struggle with addiction and poverty in Appalachia to the dysfunction of the British royal family, Wong says they all have “a riveting storyline, and they allow readers to step into the shoes of someone else and experience, just for a moment, another life.”\u003c/p>\n\u003cp>In addition to books, the library also included the top vinyl albums of the year, according to library circulation. “The love of vinyl is absolutely in line with San Francisco’s legendary music history,” Wong said. The library saw a rise in vinyl checkouts during the pandemic, and in 2022, they increased the collection by more than 50%, adding thousands of albums, including both contemporary and classic music. In fiscal year 2019, Wong said they circulated 7,226 records, and in fiscal year 2023, the circulation increased to 17,076, up 136%.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wong, an avid reader and someone who loves being surrounded by books for her job, “It’s like being in a candy store all day,” often recommends Gabrielle Zevin’s \u003cem>Tomorrow, and Tomorrow, and Tomorrow \u003c/em>and\u003cem> This Is Ear Hustle: Unflinching Stories of Everyday Prison Life \u003c/em>by Bay Area authors Nigel Poor and Earlonne Woods\u003cem>. \u003c/em>The book is based on the story of the first podcast created entirely inside a prison. “You will come out of that book with an entirely new understanding of America’s carceral system,” Wong said.\u003c/p>\n\u003cp>Wong says the library has begun tracking data more closely over the past couple of years and is able to respond to demand from patrons.\u003c/p>\n\u003cp>“San Franciscans read quality books,” she said. “It’s a city deeply committed to a rich literary heritage.”\u003c/p>\n\u003cp>\u003cem>Here are the full lists by category, including links to KQED coverage:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca id=\"TopPrintFiction\">\u003c/a>Top Print Fiction\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>When No One Is Watching\u003c/em> by Alyssa Cole\u003c/li>\n\u003cli>\u003cem>Lessons in Chemistry\u003c/em> by Bonnie Garmus\u003c/li>\n\u003cli>\u003cem>Demon Copperhead\u003c/em> by Barbara Kingsolver (\u003ca href=\"https://www.kqed.org/forum/2010101894520/barbara-kingsolver-on-her-great-appalachian-novel-demon-copperhead\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Tomorrow, and Tomorrow, and Tomorrow\u003c/em> by Gabrielle Zevin (\u003ca href=\"https://www.kqed.org/forum/2010101891916/video-games-friendship-and-renewal-light-tomorrow-and-tomorrow-and-tomorrow\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>The Covenant of Water\u003c/em> by Abraham Verghese\u003c/li>\n\u003cli>\u003cem>Our Missing Hearts\u003c/em> by Celeste Ng (\u003ca href=\"https://www.npr.org/2022/10/13/1128629001/celeste-ngs-our-missing-hearts-explores-a-new-dystopia-through-a-teenagers-eyes\">Featured on NPR\u003c/a>)\u003c/li>\n\u003cli>\u003cem>When We Were Sisters\u003c/em> by Fatimah Asghar (\u003ca href=\"https://www.npr.org/2022/10/15/1129295163/poet-and-filmmaker-fatimah-asghars-debut-novel-is-when-we-were-sisters\">Featured on NPR\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Dry\u003c/em> by Neal Shusterman\u003c/li>\n\u003cli>\u003cem>Happy Place\u003c/em> by Emily Henry\u003c/li>\n\u003cli>\u003cem>Hello Beautiful\u003c/em> by Ann Napolitano\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong>\u003ca id=\"TopeBooksFiction\">\u003c/a>Top eBooks Fiction\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>Tomorrow, and Tomorrow, and Tomorrow\u003c/em> by Gabrielle Zevin\u003c/li>\n\u003cli>\u003cem>Lessons in Chemistry\u003c/em> by Bonnie Garmus\u003c/li>\n\u003cli>\u003cem>Happy Place\u003c/em> by Emily Henry\u003c/li>\n\u003cli>\u003cem>Demon Copperhead\u003c/em> by Barbara Kingsolver\u003c/li>\n\u003cli>\u003cem>Verity\u003c/em> by Colleen Hoover\u003c/li>\n\u003cli>\u003cem>Our Missing Hearts\u003c/em> by Celeste Ng\u003c/li>\n\u003cli>\u003cem>Cloud Cuckoo Land\u003c/em> by Anthony Doerr\u003c/li>\n\u003cli>\u003cem>The Paris Apartment\u003c/em> by Lucy Foley\u003c/li>\n\u003cli>\u003cem>It Starts With Us\u003c/em> by Colleen Hoover\u003c/li>\n\u003cli>\u003cem>Book Lovers\u003c/em> by Emily Henry\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong>\u003ca id=\"TopPrintNonfiction\">\u003c/a>Top Print Nonfiction\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>Spare\u003c/em> by Harry\u003c/li>\n\u003cli>\u003cem>The Light We Carry: Overcoming in Uncertain Times\u003c/em> by Michelle Obama\u003c/li>\n\u003cli>\u003cem>This Is Ear Hustle: Unflinching Stories of Everyday Prison Life\u003c/em> by Nigel Poor and Earlonne Woods (\u003ca href=\"https://www.npr.org/2022/10/15/1129295163/poet-and-filmmaker-fatimah-asghars-debut-novel-is-when-we-were-sisters\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Solito\u003c/em> by Javier Zamora (\u003ca href=\"https://www.kqed.org/forum/2010101890526/at-age-9-poet-javier-zamora-migrated-from-el-salvador-alone-in-solito-he-tells-that-story\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>I’m Glad My Mom Died\u003c/em> by Jennette McCurdy\u003c/li>\n\u003cli>\u003cem>Crying in H Mart\u003c/em> by Michelle Zauner (\u003ca href=\"https://www.kqed.org/forum/2010101883227/michelle-zauner\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Long Live the Tribe of Fatherless Girls\u003c/em> by T Kira Madden\u003c/li>\n\u003cli>\u003cem>Stay True\u003c/em> by Hua Hsu (\u003ca href=\"https://www.kqed.org/forum/2010101891144/with-zines-and-mixtapes-writer-hua-hsu-found-identity-friendship-and-consolation\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Why We Swim\u003c/em> by Bonnie Tsui (\u003ca href=\"https://www.kqed.org/forum/2010101882936/the-psychological-historical-and-personal-reasons-why-we-swim\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Poverty, by America\u003c/em> by Matthew Desmond (\u003ca href=\"https://www.kqed.org/forum/2010101892632/how-to-become-a-poverty-abolitionist\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong>\u003ca id=\"TopeBookNonfiction\">\u003c/a>Top eBook Nonfiction\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>Spare\u003c/em> by Prince Harry\u003c/li>\n\u003cli>\u003cem>I’m Glad My Mom Died\u003c/em> by Jennette McCurdy\u003c/li>\n\u003cli>\u003cem>Maybe You Should Talk to Someone: A Therapist, HER Therapist, and Our Lives Revealed\u003c/em> by Lori Gottlieb\u003c/li>\n\u003cli>\u003cem>Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants\u003c/em> by Robin Wall Kimmerer\u003c/li>\n\u003cli>\u003cem>Crying in H Mart\u003c/em> by Michelle Zauner\u003c/li>\n\u003cli>\u003cem>Stay True\u003c/em> by Hua Hsu\u003c/li>\n\u003cli>\u003cem>The Light We Carry: Overcoming in Uncertain Times\u003c/em> by Michelle Obama\u003c/li>\n\u003cli>\u003cem>Outlive: The Science and Art of Longevity\u003c/em> by Peter Attia\u003c/li>\n\u003cli>\u003cem>How to Do Nothing: Resisting the Attention Economy\u003c/em> by Jenny Odell (\u003ca href=\"https://www.kqed.org/forum/2010101892445/jenny-odell-saves-time-and-herself-by-living-beyond-the-clock\">Featured on KQED Forum\u003c/a>)\u003c/li>\n\u003cli>\u003cem>Adult Children of Emotionally Immature Parents: How to Heal from Distant, Rejecting, or Self-Involved Parents\u003c/em> by Lindsay C. Gibson\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong>\u003ca id=\"TopTeenFiction\">\u003c/a>Top Teen Fiction\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>A Court of Thorns and Roses\u003c/em> by Sarah J. Maas\u003c/li>\n\u003cli>\u003cem>The Summer I Turned Pretty\u003c/em> by Jenny Han\u003c/li>\n\u003cli>\u003cem>The Hunger Games\u003c/em> by Suzanne Collins\u003c/li>\n\u003cli>\u003cem>Six of Crows\u003c/em> by Leigh Bardugo\u003c/li>\n\u003cli>\u003cem>Heartstopper, Volume 1\u003c/em> by Alice Oseman\u003c/li>\n\u003cli>\u003cem>Catching Fire\u003c/em> by Suzanne Collins\u003c/li>\n\u003cli>\u003cem>American Born Chinese\u003c/em> by Gene Luen Yang\u003c/li>\n\u003cli>\u003cem>Last Night at the Telegraph Club\u003c/em> by Malinda Lo\u003c/li>\n\u003cli>\u003cem>A Good Girl’s Guide to Murder\u003c/em> by Holly Jackson\u003c/li>\n\u003cli>\u003cem>One of Us Is Lying\u003c/em> by Karen M. McManus\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong>\u003ca id=\"TopVinyl\">\u003c/a>Top Vinyl\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>\u003cem>Kind of Blue\u003c/em> by Miles Davis\u003c/li>\n\u003cli>\u003cem>The Dark Side of the Moon\u003c/em> by Pink Floyd\u003c/li>\n\u003cli>\u003cem>Evermore\u003c/em> by Taylor Swift\u003c/li>\n\u003cli>\u003cem>Abbey Road\u003c/em> by The Beatles\u003c/li>\n\u003cli>\u003cem>An Evening with Silk Sonic\u003c/em> by Thundercat\u003c/li>\n\u003cli>\u003cem>Purple Rain\u003c/em> by Prince\u003c/li>\n\u003cli>\u003cem>Folklore\u003c/em> by Taylor Swift\u003c/li>\n\u003cli>\u003cem>Fine Line\u003c/em> by Harry Styles\u003c/li>\n\u003cli>\u003cem>A Love Supreme\u003c/em> by John Coltrane\u003c/li>\n\u003cli>\u003cem>Thriller 25\u003c/em> by Michael Jackson\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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