The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.
Critics’ PicksCritics’ Picks
Entrancing ‘Testament of Ann Lee’ Relays the Shakers’ Saga in Song and Dance
In Carolina Ixta’s New Novel, Teens Fight Against Pollution for a ‘Few Blue Skies’
San Francisco’s Biggest Night Market Plans a Triumphant Return
‘Who Is America at 250?’ Interrogates the Principles of the Land of the Free
A Mission District Dance Party Wants to ‘Melt the ICE’
Music and All That Jazz at This Year’s Noir City Film Festival
Your Guide to MLK Day Events Around the Bay Area
Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More
‘28 Years Later: The Bone Temple’ Triumphantly Subverts the Classic Zombie Movie
Warriors Celebrate Muslim Heritage With a Night of Indo-Texan Halal Barbecue
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"content": "\u003cp>A film about faith and other leaps, Mona Fastvold’s remarkable \u003cem>The Testament of Ann Lee\u003c/em> does not ask us to endorse or embrace the tenets of the 18th-century English sect called United Society of Believers in Christ’s Second Coming, aka Shaking Quakers, aka the Shakers. Given that an important principle of co-founder Ann Lee (Amanda Seyfried) was celibacy, many viewers would find that a bridge too far.\u003c/p>\n\u003cp>[aside postid='arts_13985705']Several of the Shakers’ other core values, like cooperation, collaboration, ecstasy and equality among genders resonate clearly, especially for anyone who can recall the Northern California communes of the 1960s and 70s. The pleasure and power of \u003cem>The Testament of Ann Lee\u003c/em> (opening Jan. 23), though, is not to be found in the utopian speeches but in surrendering to the selfless exhibition of true believers believing. If you are willing to be entranced — to accede from time to time to a trance state — you will have a uniquely thrilling time at the movies.\u003c/p>\n\u003cp>The story opens in the 1740s in Manchester, England, where the child Ann labors in a textile factory. As she grows up, her spiritual journey takes her to Jane and James Wardley (Stacy Martin and Scott Handy), through whose fervid Quaker prayer group she meets her husband Abraham Standerin (Christopher Abbott) and develops her specific philosophy.\u003c/p>\n\u003cfigure id=\"attachment_13985686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg\" alt=\"man and woman face each other in room of people\" width=\"2000\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-1536x635.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Abbott and Amanda Seyfried in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marriage brings physical and psychic pain, and Ann’s crucible is further forged in the fire of family tragedy. Even as she is accepted by many of the Wardley circle and her stalwart brother William (Lewis Pullman) as the true leader, Mother Ann (as she is now called) captures the unwelcome attention of the powers-that-be and is incarcerated for a couple weeks.\u003c/p>\n\u003cp>The Shakers’ saga comes into focus as a familiar dynamic of nonconformity and determination, fueled by the certainty of religious faith, running into both official and street opposition, with blood being spilled. We judge for ourselves how much of the animosity is an overreaction to noisy praying and how much is fear and hatred of a powerful woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The departure of the Shakers by boat to America in 1774, trading the Old World for the New, is a hugely important development for the sect. The movie opens up as well, with Manchester’s drab, chilly confines replaced by America’s broad vistas and natural light.\u003c/p>\n\u003cp>Fastvold and Brady Corbet’s literate script, brought to pulsing life by a committed cast led by Seyfried, carries \u003cem>The Testament of Ann Lee\u003c/em> a long way. But a wholly unexpected element puts the film over the top.\u003c/p>\n\u003cfigure id=\"attachment_13985685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg\" alt=\"woman and man on deck of sailing ship\" width=\"2000\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and Lewis Pullman journey to America in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Vincent Minnelli and Bob Fosse artfully demonstrated, music and movement — song and dance — are powerful vehicles for not only conveying deep emotions but enrolling audiences in leaps of joy and amazement and flights of mind. Daring to dare is the sentiment at the heart of a movie musical, and the quality that moviegoers respond to.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> isn’t exactly a musical in the sense that the songs don’t tell the story. Fastvold and composer Daniel Blumberg (whose score for Fastvold and Corbet’s \u003cem>The Brutalist\u003c/em> won the Oscar last year) chose a dozen melodies from the Shaker hymnal archive, and Celia Rowlson-Hall choreographed a mix of individual and ensemble numbers.\u003c/p>\n\u003cp>[aside postid='arts_13985320']These dances don’t just prevent \u003cem>The Testament of Ann Lee\u003c/em> from succumbing to the stuck-in-wax fate of a lot of standard biopics and period pieces. They bring the magic, and the entrancement, without feeling anachronistic and pulling us out of the 18th century.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> is set in a world very different from ours and also not so different, a world of mysteries and dangers where people fear new ideas and are made to fear newcomers. Where superstitions or religious dogma or conspiracy theories are cited to soothe our uncertainty.\u003c/p>\n\u003cp>Perhaps every utopian endeavor is fated to come to an end, whether from internal dynamics or external forces. Maybe our task is to take inspiration from the faith and the effort. \u003cem>The Testament of Ann Lee\u003c/em> asks us to consider whether we are on the side of the creators or the destroyers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Testament of Ann Lee’ opens Jan. 23, 2026 in Bay Area theaters.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Several of the Shakers’ other core values, like cooperation, collaboration, ecstasy and equality among genders resonate clearly, especially for anyone who can recall the Northern California communes of the 1960s and 70s. The pleasure and power of \u003cem>The Testament of Ann Lee\u003c/em> (opening Jan. 23), though, is not to be found in the utopian speeches but in surrendering to the selfless exhibition of true believers believing. If you are willing to be entranced — to accede from time to time to a trance state — you will have a uniquely thrilling time at the movies.\u003c/p>\n\u003cp>The story opens in the 1740s in Manchester, England, where the child Ann labors in a textile factory. As she grows up, her spiritual journey takes her to Jane and James Wardley (Stacy Martin and Scott Handy), through whose fervid Quaker prayer group she meets her husband Abraham Standerin (Christopher Abbott) and develops her specific philosophy.\u003c/p>\n\u003cfigure id=\"attachment_13985686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg\" alt=\"man and woman face each other in room of people\" width=\"2000\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-1536x635.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Abbott and Amanda Seyfried in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marriage brings physical and psychic pain, and Ann’s crucible is further forged in the fire of family tragedy. Even as she is accepted by many of the Wardley circle and her stalwart brother William (Lewis Pullman) as the true leader, Mother Ann (as she is now called) captures the unwelcome attention of the powers-that-be and is incarcerated for a couple weeks.\u003c/p>\n\u003cp>The Shakers’ saga comes into focus as a familiar dynamic of nonconformity and determination, fueled by the certainty of religious faith, running into both official and street opposition, with blood being spilled. We judge for ourselves how much of the animosity is an overreaction to noisy praying and how much is fear and hatred of a powerful woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The departure of the Shakers by boat to America in 1774, trading the Old World for the New, is a hugely important development for the sect. The movie opens up as well, with Manchester’s drab, chilly confines replaced by America’s broad vistas and natural light.\u003c/p>\n\u003cp>Fastvold and Brady Corbet’s literate script, brought to pulsing life by a committed cast led by Seyfried, carries \u003cem>The Testament of Ann Lee\u003c/em> a long way. But a wholly unexpected element puts the film over the top.\u003c/p>\n\u003cfigure id=\"attachment_13985685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg\" alt=\"woman and man on deck of sailing ship\" width=\"2000\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and Lewis Pullman journey to America in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Vincent Minnelli and Bob Fosse artfully demonstrated, music and movement — song and dance — are powerful vehicles for not only conveying deep emotions but enrolling audiences in leaps of joy and amazement and flights of mind. Daring to dare is the sentiment at the heart of a movie musical, and the quality that moviegoers respond to.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> isn’t exactly a musical in the sense that the songs don’t tell the story. Fastvold and composer Daniel Blumberg (whose score for Fastvold and Corbet’s \u003cem>The Brutalist\u003c/em> won the Oscar last year) chose a dozen melodies from the Shaker hymnal archive, and Celia Rowlson-Hall choreographed a mix of individual and ensemble numbers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These dances don’t just prevent \u003cem>The Testament of Ann Lee\u003c/em> from succumbing to the stuck-in-wax fate of a lot of standard biopics and period pieces. They bring the magic, and the entrancement, without feeling anachronistic and pulling us out of the 18th century.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> is set in a world very different from ours and also not so different, a world of mysteries and dangers where people fear new ideas and are made to fear newcomers. Where superstitions or religious dogma or conspiracy theories are cited to soothe our uncertainty.\u003c/p>\n\u003cp>Perhaps every utopian endeavor is fated to come to an end, whether from internal dynamics or external forces. Maybe our task is to take inspiration from the faith and the effort. \u003cem>The Testament of Ann Lee\u003c/em> asks us to consider whether we are on the side of the creators or the destroyers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Testament of Ann Lee’ opens Jan. 23, 2026 in Bay Area theaters.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Carolina Ixta’s New Novel, Teens Fight Against Pollution for a ‘Few Blue Skies’",
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"content": "\u003cp>Fresh off the success of her Oakland-set debut novel, \u003cem>\u003ca href=\"https://www.harpercollins.com/products/shut-up-this-is-serious-carolina-ixta?variant=43720492351522\">Shut Up, This is Serious\u003c/a>\u003c/em>, Bay Area author Carolina Ixta returns with a sophomore offering inspired in part by the inequities she saw in the region. For Ixta — a public education advocate and alumna of the Oakland Unified School District who now teaches fourth and fifth grade in San Leandro — fiction writing is a megaphone for social consciousness. Writing for a young adult audience, in particular, allows her to entertain young readers and teach them about their own realities. \u003c/p>\n\u003cp>Ixta initially wanted to write about Bay Area-specific issues, like the \u003ca href=\"https://www.kqed.org/news/12007326/lead-problems-in-oakland-schools-drinking-water-could-cost-over-50-million-to-fix\">lead-contaminated water in Oakland public schools\u003c/a>, or the \u003ca href=\"https://www.kqed.org/news/11981762/major-richmond-refinery-accidents-settled-as-part-of-chevron-deal\">accidents at Richmond’s Chevron refinery\u003c/a>. But after spending quality time with her godmother in Southern California’s Inland Empire, Ixta learned firsthand about another pressing environmental issue: warehouses. \u003c/p>\n\u003cfigure id=\"attachment_13985643\" class=\"wp-caption alignright\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/CarolinaIxta_full.jpeg\" alt=\"young woman with long brown hair\" width=\"1300\" height=\"1804\" class=\"size-full wp-image-13985643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/CarolinaIxta_full.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/CarolinaIxta_full-160x222.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/CarolinaIxta_full-768x1066.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/CarolinaIxta_full-1107x1536.jpeg 1107w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Carolina Ixta. \u003ccite>(Noemi Tshinanga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I saw all of these large, gray buildings next to homes and parks and schools … and I realized it was a very similar issue to what was happening in the Bay Area, except that it was highly affecting their air quality,” she explains. The region is home to thousands of warehouses that generate daily transport truck traffic, creating heavy fuel emissions and congestion.\u003c/p>\n\u003cp>“I wanted to write about environmental injustice, particularly the way that it affects Brown and Black people — but specifically in this region, Latinx people,” she says. In Fontana, a warehouse was proposed right next to Jurupa Hills High School. And even though community activists opposed its construction, citing air pollution and student safety, the city council approved its construction in the spring of 2022. \u003c/p>\n\u003cp>In \u003cem>Few Blue Skies\u003c/em>, Ixta invents the Southern California city of San Fermín, a stand-in for multiple places on the receiving end of environmental discrimination and racism. The book’s protagonist, Paloma Vistamontes, is a high schooler whose hometown is targeted for mass-scale warehouse construction by the fictional e-commerce conglomerate Selva. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ixta draws heavily from real-life situations to ground her novel. \u003cem>Few Blue Skies\u003c/em> opens with an epigraph from Elizabeth Sena, a founding member of the South Fontana Concerned Citizens Coalition, a group opposing warehouse construction: “The children in the Inland Empire are like the canaries singing in coal mines, but no one is listening.” \u003c/p>\n\u003cp>Sena is one of several people Ixta interviewed to lend the book its bite of truth. Other interviewees include San Bernardino filmmaker Sofia Figueroa, director of the Emmy-nominated KVCR docuseries \u003cem>\u003ca href=\"https://www.kvcr.org/warehouse-empire/\">The Warehouse Empire\u003c/a>\u003c/em>; local organizers; warehouse workers; and community members, including a couple whose children woke to nosebleeds due to poor air quality — a detail Ixta borrowed for her book.\u003c/p>\n\u003cp>She also included a Breathmobile, a mobile asthma clinic, that she learned about from an episode of PBS’s \u003cem>Earth Focus\u003c/em> titled “\u003ca href=\"https://www.pbs.org/video/fighting-for-air-9d2yzn/\">Fighting for Air\u003c/a>.” San Fermín’s air quality is so poor Paloma and her schoolmates have mandated Breathmobile checkups, which feel as routine as seeing a dentist. \u003c/p>\n\u003ch2>Putting labor issues front and center\u003c/h2>\n\u003cp>The core \u003ci>Few Blue Skies\u003c/i> problem isn’t just that Selva exists and has designs on the town, but that nearly every resident works for Selva — including the fathers of Paloma and her friends. When the workers begin a lengthy strike against the conglomerate due to poor pay and working conditions, tension spills over from the picket line into every home in town, sowing marital discord and family dysfunction. \u003c/p>\n\u003cp>Ixta’s decision to set the novel during a strike period cleverly allows her to bypass the warehouse as a setting and focus on it as a symbol. The strike becomes a jumping-off point for Paloma and her friends to not only define their values, but also have them tested.\u003c/p>\n\u003cp>Ixta, the daughter of Mexican immigrants, has been mindful of labor justice since childhood. In addition to researching history like the United Farm Workers Movement, she was able to draw from her family’s past to inform Paloma’s story. \u003c/p>\n\u003cp>[aside postID='arts_13985338']“My father was a delivery man for a bread company in San Francisco, so as a kid, I was very aware of how work was a way to make money, but [also] how work really affected my family and their health,” she says, noting that he sustained a number of injuries on the job. Ixta was also inspired by her grandfather’s time in the Bracero Program, a joint agreement between Mexico and the U.S. that offered millions of Mexican men short-term work in agriculture during a post-WWII labor shortage. \u003c/p>\n\u003cp>“[He] was technically a strike breaker,” she says, even though he “was just trying to send some money back to my mother and her siblings in Mexico.” Depending on one’s perspective, his actions could be seen as either noble or a betrayal. It’s the kind of nuanced conversation she likes to have with her students when she teaches them Pam Muñoz Ryan’s \u003cem>\u003ca href=\"https://www.pammunozryan.com/esperanza-rising/\">Esperanza Rising\u003c/a>\u003c/em>, a children’s book about Mexican farm workers in California set during the Dust Bowl. In the book, a protagonist acts as a strike breaker during a unionization attempt. \u003c/p>\n\u003cfigure id=\"attachment_13985648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/BracerosProgram_2000.jpg\" alt=\"men in workwear and cowboy hats in front of long table with people registering paperwork\" width=\"2000\" height=\"1238\" class=\"size-full wp-image-13985648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/BracerosProgram_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/BracerosProgram_2000-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/BracerosProgram_2000-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/BracerosProgram_2000-1536x951.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mexican farm workers who have been accepted for farm labor in the U.S. through the Braceros Program, circa 1942–1945. \u003ccite>(National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They get into “vivacious debates,” she says. “We always come to the conclusion that no one is right and no one is wrong because everyone is just trying to survive in a world that is impossible to survive in.” It’s a piece of historical fiction she returns to each year, one that inspired her own work on \u003cem>Few Blue Skies\u003c/em>.\u003c/p>\n\u003cp>“I really wanted to talk about how these historic issues are not over,” she says. “They have just shape-shifted.”\u003c/p>\n\u003cp>Memories of her father’s work life, testimonies from her interviews, and her research on generations of Latinx labor in America coalesce in the novel. The results are larger plots and small details that meaningfully build out the book’s world, but also connect it back to our own. \u003c/p>\n\u003cp>Paloma’s dad, who incurs respiratory issues from work, regularly drives to Mexico to buy cheaper inhalers. “My pa is so grateful that he can legally cross the border that he often dismisses the sadness of why he needs to cross it to begin with,” Paloma muses. \u003c/p>\n\u003cp>Ultimately, \u003cem>Few Blue Skies\u003c/em> is a story not just about what people need to do to make a dollar in America, but also how much a dollar truly costs. \u003c/p>\n\u003ch2>Resisting hyperoptimism\u003c/h2>\n\u003cp>Ixta’s prudent decision to focus on the interpersonal fallout of the strike humanizes the fight and offers young readers an accessible framework for caring about labor issues. Paloma and her friends are teenagers who just want to go thrift-store shopping, experience the bruises of young love, prepare for college, work their first jobs at the local antojería, and celebrate holidays like Noche Buena with their families. \u003c/p>\n\u003cp>[aside postID='arts_13985414']But they are having those quintessential American and Latinx experiences under Selva’s dark shadow, which literally blots out their once-blue skies. Ixta’s novel wraps these issues in a juicy love story and a sympathetic familial drama. Her prose is expressive throughout. A school fistfight turns one teen’s mouth into “a grid of red clenched between his teeth” and Paloma’s life is soundtracked to “coughs cacophonous, harmonizing, echoing” all around her. \u003c/p>\n\u003cp>Perhaps the most impactful choice Ixta makes is writing an ending to a young adult novel that resists the kind of hyperoptimism and neat resolution typical of the genre. This was done out of deference to the scale of Paloma’s fight, and the deep, lasting fissures it creates in communities. \u003c/p>\n\u003cp>“In the real world, that high school not only had that warehouse built, but they added three more,” Ixta says. “I didn’t want to disrespect that community and say that that’s not what happened because it really is. And I want people to pay attention to what’s happening there.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Carolina Ixta’s ‘\u003ca href=\"https://www.harpercollins.com/products/few-blue-skies-carolina-ixta?variant=43812578197538\">Few Blue Skies\u003c/a>’ is out Feb. 3, 2026 from Quill Tree Books, an imprint of HarperCollins. \u003c/i>\u003c/p>\n\n",
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"title": "‘Few Blue Skies’ Review: Teens Take on Air Pollution | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh off the success of her Oakland-set debut novel, \u003cem>\u003ca href=\"https://www.harpercollins.com/products/shut-up-this-is-serious-carolina-ixta?variant=43720492351522\">Shut Up, This is Serious\u003c/a>\u003c/em>, Bay Area author Carolina Ixta returns with a sophomore offering inspired in part by the inequities she saw in the region. For Ixta — a public education advocate and alumna of the Oakland Unified School District who now teaches fourth and fifth grade in San Leandro — fiction writing is a megaphone for social consciousness. Writing for a young adult audience, in particular, allows her to entertain young readers and teach them about their own realities. \u003c/p>\n\u003cp>Ixta initially wanted to write about Bay Area-specific issues, like the \u003ca href=\"https://www.kqed.org/news/12007326/lead-problems-in-oakland-schools-drinking-water-could-cost-over-50-million-to-fix\">lead-contaminated water in Oakland public schools\u003c/a>, or the \u003ca href=\"https://www.kqed.org/news/11981762/major-richmond-refinery-accidents-settled-as-part-of-chevron-deal\">accidents at Richmond’s Chevron refinery\u003c/a>. But after spending quality time with her godmother in Southern California’s Inland Empire, Ixta learned firsthand about another pressing environmental issue: warehouses. \u003c/p>\n\u003cfigure id=\"attachment_13985643\" class=\"wp-caption alignright\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/CarolinaIxta_full.jpeg\" alt=\"young woman with long brown hair\" width=\"1300\" height=\"1804\" class=\"size-full wp-image-13985643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/CarolinaIxta_full.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/CarolinaIxta_full-160x222.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/CarolinaIxta_full-768x1066.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/CarolinaIxta_full-1107x1536.jpeg 1107w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Carolina Ixta. \u003ccite>(Noemi Tshinanga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I saw all of these large, gray buildings next to homes and parks and schools … and I realized it was a very similar issue to what was happening in the Bay Area, except that it was highly affecting their air quality,” she explains. The region is home to thousands of warehouses that generate daily transport truck traffic, creating heavy fuel emissions and congestion.\u003c/p>\n\u003cp>“I wanted to write about environmental injustice, particularly the way that it affects Brown and Black people — but specifically in this region, Latinx people,” she says. In Fontana, a warehouse was proposed right next to Jurupa Hills High School. And even though community activists opposed its construction, citing air pollution and student safety, the city council approved its construction in the spring of 2022. \u003c/p>\n\u003cp>In \u003cem>Few Blue Skies\u003c/em>, Ixta invents the Southern California city of San Fermín, a stand-in for multiple places on the receiving end of environmental discrimination and racism. The book’s protagonist, Paloma Vistamontes, is a high schooler whose hometown is targeted for mass-scale warehouse construction by the fictional e-commerce conglomerate Selva. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ixta draws heavily from real-life situations to ground her novel. \u003cem>Few Blue Skies\u003c/em> opens with an epigraph from Elizabeth Sena, a founding member of the South Fontana Concerned Citizens Coalition, a group opposing warehouse construction: “The children in the Inland Empire are like the canaries singing in coal mines, but no one is listening.” \u003c/p>\n\u003cp>Sena is one of several people Ixta interviewed to lend the book its bite of truth. Other interviewees include San Bernardino filmmaker Sofia Figueroa, director of the Emmy-nominated KVCR docuseries \u003cem>\u003ca href=\"https://www.kvcr.org/warehouse-empire/\">The Warehouse Empire\u003c/a>\u003c/em>; local organizers; warehouse workers; and community members, including a couple whose children woke to nosebleeds due to poor air quality — a detail Ixta borrowed for her book.\u003c/p>\n\u003cp>She also included a Breathmobile, a mobile asthma clinic, that she learned about from an episode of PBS’s \u003cem>Earth Focus\u003c/em> titled “\u003ca href=\"https://www.pbs.org/video/fighting-for-air-9d2yzn/\">Fighting for Air\u003c/a>.” San Fermín’s air quality is so poor Paloma and her schoolmates have mandated Breathmobile checkups, which feel as routine as seeing a dentist. \u003c/p>\n\u003ch2>Putting labor issues front and center\u003c/h2>\n\u003cp>The core \u003ci>Few Blue Skies\u003c/i> problem isn’t just that Selva exists and has designs on the town, but that nearly every resident works for Selva — including the fathers of Paloma and her friends. When the workers begin a lengthy strike against the conglomerate due to poor pay and working conditions, tension spills over from the picket line into every home in town, sowing marital discord and family dysfunction. \u003c/p>\n\u003cp>Ixta’s decision to set the novel during a strike period cleverly allows her to bypass the warehouse as a setting and focus on it as a symbol. The strike becomes a jumping-off point for Paloma and her friends to not only define their values, but also have them tested.\u003c/p>\n\u003cp>Ixta, the daughter of Mexican immigrants, has been mindful of labor justice since childhood. In addition to researching history like the United Farm Workers Movement, she was able to draw from her family’s past to inform Paloma’s story. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“My father was a delivery man for a bread company in San Francisco, so as a kid, I was very aware of how work was a way to make money, but [also] how work really affected my family and their health,” she says, noting that he sustained a number of injuries on the job. Ixta was also inspired by her grandfather’s time in the Bracero Program, a joint agreement between Mexico and the U.S. that offered millions of Mexican men short-term work in agriculture during a post-WWII labor shortage. \u003c/p>\n\u003cp>“[He] was technically a strike breaker,” she says, even though he “was just trying to send some money back to my mother and her siblings in Mexico.” Depending on one’s perspective, his actions could be seen as either noble or a betrayal. It’s the kind of nuanced conversation she likes to have with her students when she teaches them Pam Muñoz Ryan’s \u003cem>\u003ca href=\"https://www.pammunozryan.com/esperanza-rising/\">Esperanza Rising\u003c/a>\u003c/em>, a children’s book about Mexican farm workers in California set during the Dust Bowl. In the book, a protagonist acts as a strike breaker during a unionization attempt. \u003c/p>\n\u003cfigure id=\"attachment_13985648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/BracerosProgram_2000.jpg\" alt=\"men in workwear and cowboy hats in front of long table with people registering paperwork\" width=\"2000\" height=\"1238\" class=\"size-full wp-image-13985648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/BracerosProgram_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/BracerosProgram_2000-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/BracerosProgram_2000-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/BracerosProgram_2000-1536x951.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mexican farm workers who have been accepted for farm labor in the U.S. through the Braceros Program, circa 1942–1945. \u003ccite>(National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They get into “vivacious debates,” she says. “We always come to the conclusion that no one is right and no one is wrong because everyone is just trying to survive in a world that is impossible to survive in.” It’s a piece of historical fiction she returns to each year, one that inspired her own work on \u003cem>Few Blue Skies\u003c/em>.\u003c/p>\n\u003cp>“I really wanted to talk about how these historic issues are not over,” she says. “They have just shape-shifted.”\u003c/p>\n\u003cp>Memories of her father’s work life, testimonies from her interviews, and her research on generations of Latinx labor in America coalesce in the novel. The results are larger plots and small details that meaningfully build out the book’s world, but also connect it back to our own. \u003c/p>\n\u003cp>Paloma’s dad, who incurs respiratory issues from work, regularly drives to Mexico to buy cheaper inhalers. “My pa is so grateful that he can legally cross the border that he often dismisses the sadness of why he needs to cross it to begin with,” Paloma muses. \u003c/p>\n\u003cp>Ultimately, \u003cem>Few Blue Skies\u003c/em> is a story not just about what people need to do to make a dollar in America, but also how much a dollar truly costs. \u003c/p>\n\u003ch2>Resisting hyperoptimism\u003c/h2>\n\u003cp>Ixta’s prudent decision to focus on the interpersonal fallout of the strike humanizes the fight and offers young readers an accessible framework for caring about labor issues. Paloma and her friends are teenagers who just want to go thrift-store shopping, experience the bruises of young love, prepare for college, work their first jobs at the local antojería, and celebrate holidays like Noche Buena with their families. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But they are having those quintessential American and Latinx experiences under Selva’s dark shadow, which literally blots out their once-blue skies. Ixta’s novel wraps these issues in a juicy love story and a sympathetic familial drama. Her prose is expressive throughout. A school fistfight turns one teen’s mouth into “a grid of red clenched between his teeth” and Paloma’s life is soundtracked to “coughs cacophonous, harmonizing, echoing” all around her. \u003c/p>\n\u003cp>Perhaps the most impactful choice Ixta makes is writing an ending to a young adult novel that resists the kind of hyperoptimism and neat resolution typical of the genre. This was done out of deference to the scale of Paloma’s fight, and the deep, lasting fissures it creates in communities. \u003c/p>\n\u003cp>“In the real world, that high school not only had that warehouse built, but they added three more,” Ixta says. “I didn’t want to disrespect that community and say that that’s not what happened because it really is. And I want people to pay attention to what’s happening there.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Carolina Ixta’s ‘\u003ca href=\"https://www.harpercollins.com/products/few-blue-skies-carolina-ixta?variant=43812578197538\">Few Blue Skies\u003c/a>’ is out Feb. 3, 2026 from Quill Tree Books, an imprint of HarperCollins. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For a couple Friday nights in August and September of 2024, some 20,000 visitors descended on the west end of San Francisco for the \u003ca href=\"https://www.kqed.org/news/11961526/smiles-and-slurps-san-franciscos-sunset-neighborhood-night-market-kicks-off\">Sunset Night Market\u003c/a> — maybe the biggest, splashiest night market the city had ever seen, occupying a whopping seven blocks of Irving Street. There were lion dancers in full regalia. Lamb skewers and prehistoric-sized turkey legs served hot off the grill. Stinky tofu and durian eating contests. Martin Yan even \u003ca href=\"https://www.instagram.com/reel/C_bob2XybFq/\">made an appearance\u003c/a>.\u003c/p>\n\u003cp>As Asian-style night markets continued their emergence as the Bay Area’s \u003ca href=\"https://www.kqed.org/news/11961526/smiles-and-slurps-san-franciscos-sunset-neighborhood-night-market-kicks-off\">single most popular format for community events\u003c/a>, many looked forward to seeing what new offerings the Sunset Night Market had in store for 2025. But the new season never got off the ground, as the market’s organizers struggled with funding and blowback from some of the businesses in the neighborhood. In June, organizers announced that the night market would be \u003ca href=\"https://missionlocal.org/2025/06/sf-sunset-night-market-faces-uncertain-fate/\">put “on pause” \u003c/a>for the rest of the year.\u003c/p>\n\u003cp>Now, the Sunset Night Market is back with a tentative slate of four events in 2026, all of them tied to Chinese holidays — a nod to the neighborhood’s strong cultural identity as an \u003ca href=\"https://www.sfheritage.org/sunset-chinese-cultural-district/\">informal Chinatown\u003c/a>. The revamped market will kick off with a Lunar New Year–themed event on Feb. 27, followed by night markets timed to coincide with the Dragon Boat Festival (June), the Moon Festival (September), and the Winter Solstice (December).\u003c/p>\n\u003cfigure id=\"attachment_13985636\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02844-1.jpg\" alt=\"A night market vendor grills turkey legs.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02844-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02844-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02844-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02844-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A vendor grills turkey legs at a 2024 edition of the night market. \u003ccite>(Jimmy Love, courtesy of Sunset Night Market)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fact that the night market will kick off the Year of the Horse is especially auspicious, says Lily Wong, director of the Sunset Chinese Cultural District, which helps organize the event.\u003c/p>\n\u003cp>“In Chinese, we actually have a saying about [how] when the horse arrives, success arrives too,” Wong says. The hope is for the event to usher in a longer-term night market that’s more sustainable than last year’s edition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Angie Petitt, founder of \u003ca href=\"https://sunsetmercantilesf.com/\">Sunset Mercantile\u003c/a>, another of the night market’s organizers, says the event’s ultimate goal is to show off the diversity of the Sunset and to “help bring a lot more attention to these wonderful brick-and-mortars that line Irving Street.”\u003c/p>\n\u003cp>Some \u003ca href=\"https://sfstandard.com/2025/07/10/sunset-irving-street-night-market-cancelled-recall/\">media reports\u003c/a> speculated that last year’s run of night markets may have been scuttled at least in part for political reasons — which is to say, because the Sunset Night Market was too closely associated with embattled (and eventually recalled) District 4 Supervisor Joel Engardio, who helped spearhead the event in 2023. Wong and Petitt, however, are adamant that politics had nothing to do with it. Instead, they say, the problem mostly had to do with funding. In particular, there was an \u003ca href=\"https://www.cbsnews.com/sanfrancisco/news/san-francisco-sunset-night-market-canceled-in-2025/\">eight-month delay\u003c/a> before organizers received the $120,000 in city grant money promised by San Francisco’s Office of Economic and Workforce Development (OEWD) for the 2024 markets.\u003c/p>\n\u003cfigure id=\"attachment_13985634\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-32-JY-KQED.jpg\" alt=\"A father carries his young daughter on his shoulders as she eats food from a Chinese takeout carton.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-32-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-32-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-32-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-32-JY-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">3-year-old Maise Lee eats rice while sitting on her dad Edward Young Lee’s shoulders at 2023’s inaugural Sunset Night Market. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We just weren’t confident that we could run the market when we were already in debt, so that took a little bit of time to figure out,” Wong says.\u003c/p>\n\u003cp>For now, the 2026 iteration of the night market is being funded by grants from both the OEWD and the nonprofit \u003ca href=\"https://www.avenuegreenlightsf.org/\">Avenue Greenlight\u003c/a> — though Wong stresses that they’re still looking for additional sponsors.\u003c/p>\n\u003cp>Meanwhile, even though the huge scale of the night market’s 2024 season made it one of the splashiest events in the city, the market’s seven-block footprint also posed significant challenges. Those events drew 20,000 visitors to the Sunset each night, which was a boon to some of the local businesses — but the street closures and huge crowds proved to be a big inconvenience for others.\u003c/p>\n\u003cfigure id=\"attachment_13985637\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02776.jpg\" alt=\"A crowd of diners seated outside a Chinese restaurant.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02776.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02776-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02776-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02776-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of diners seated outside Yuanbao Jiaozi, a local Sunset District restaurant, during one of the 2024 night markets. \u003ccite>(Jimmy Love, courtesy of Sunset Night Market)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s events will be “right-sized” to five blocks instead of seven — a happy medium that Wong hopes is more viable for the future. And while organizers have applied to host the first two night markets (on Feb. 27 and June 12) on Irving Street, Wong says they’re open to moving future editions to other parts of the greater Sunset area — perhaps to Parkside or Noriega Street — if business owners in those neighborhoods are interested.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13963258,arts_13981034,news_11961526']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Even at this slightly smaller scale, Petitt says this year’s markets should have all the hallmarks of the Sunset Night Market’s past successes — music, cultural performances, games and other family-friendly activities, celebrity chef appearances and, of course, hot food. While organizers are still curating the Feb. 27 lineup, Petitt says some of the likely food vendors include Filipino dessert pop-up \u003ca href=\"https://www.instagram.com/loulouslecheflan/?hl=en\">Loulou’s Leche Flan\u003c/a>, Korean-Mexican fusion candymaker \u003ca href=\"https://www.instagram.com/kimoysf/?hl=en\">Kimoy Chamoy\u003c/a>, Taiwanese bento cult favorite \u003ca href=\"https://www.instagram.com/mitk1655/\">MITK Taiwanese Kitchen\u003c/a>, Jamaican hand pie specialist \u003ca href=\"https://www.instagram.com/peachespatties/?hl=en\">Peaches Patties\u003c/a> and more — plus a host of Irving Street restaurants that will be open for business.\u003c/p>\n\u003cfigure id=\"attachment_13985639\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985639\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-36-JY-KQED.jpg\" alt=\"People strolling a crowded night market.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-36-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-36-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-36-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-36-JY-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Visitors strolling the Irving Street night market in 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night market’s return is especially important for the neighborhood’s Chinese cultural district, which is hitting its five-year anniversary. “During the pandemic, there was a lot of hate toward Asians. It was a double whammy for our Chinese-owned small businesses that have consistently served the community,” Wong says. Even now, she adds, many of those businesses still haven’t gotten back to pre-pandemic levels.\u003c/p>\n\u003cp>“It’s not that hard to get to the Sunset,” she says. “A lot of these businesses are family-owned, and they need our support. Come check them out.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The first \u003c/i>\u003ca href=\"https://www.instagram.com/p/DTOhjoukovY/\">\u003ci>Sunset Night Market\u003c/i>\u003c/a>\u003ci> of 2026 will take place on Feb. 27, 5–10 p.m., on Irving Street between 20th and 25th avenues in San Francisco.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The Sunset Night Market kicks off with a Lunar New Year–themed edition on Feb. 27.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a couple Friday nights in August and September of 2024, some 20,000 visitors descended on the west end of San Francisco for the \u003ca href=\"https://www.kqed.org/news/11961526/smiles-and-slurps-san-franciscos-sunset-neighborhood-night-market-kicks-off\">Sunset Night Market\u003c/a> — maybe the biggest, splashiest night market the city had ever seen, occupying a whopping seven blocks of Irving Street. There were lion dancers in full regalia. Lamb skewers and prehistoric-sized turkey legs served hot off the grill. Stinky tofu and durian eating contests. Martin Yan even \u003ca href=\"https://www.instagram.com/reel/C_bob2XybFq/\">made an appearance\u003c/a>.\u003c/p>\n\u003cp>As Asian-style night markets continued their emergence as the Bay Area’s \u003ca href=\"https://www.kqed.org/news/11961526/smiles-and-slurps-san-franciscos-sunset-neighborhood-night-market-kicks-off\">single most popular format for community events\u003c/a>, many looked forward to seeing what new offerings the Sunset Night Market had in store for 2025. But the new season never got off the ground, as the market’s organizers struggled with funding and blowback from some of the businesses in the neighborhood. In June, organizers announced that the night market would be \u003ca href=\"https://missionlocal.org/2025/06/sf-sunset-night-market-faces-uncertain-fate/\">put “on pause” \u003c/a>for the rest of the year.\u003c/p>\n\u003cp>Now, the Sunset Night Market is back with a tentative slate of four events in 2026, all of them tied to Chinese holidays — a nod to the neighborhood’s strong cultural identity as an \u003ca href=\"https://www.sfheritage.org/sunset-chinese-cultural-district/\">informal Chinatown\u003c/a>. The revamped market will kick off with a Lunar New Year–themed event on Feb. 27, followed by night markets timed to coincide with the Dragon Boat Festival (June), the Moon Festival (September), and the Winter Solstice (December).\u003c/p>\n\u003cfigure id=\"attachment_13985636\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02844-1.jpg\" alt=\"A night market vendor grills turkey legs.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02844-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02844-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02844-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02844-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A vendor grills turkey legs at a 2024 edition of the night market. \u003ccite>(Jimmy Love, courtesy of Sunset Night Market)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fact that the night market will kick off the Year of the Horse is especially auspicious, says Lily Wong, director of the Sunset Chinese Cultural District, which helps organize the event.\u003c/p>\n\u003cp>“In Chinese, we actually have a saying about [how] when the horse arrives, success arrives too,” Wong says. The hope is for the event to usher in a longer-term night market that’s more sustainable than last year’s edition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Angie Petitt, founder of \u003ca href=\"https://sunsetmercantilesf.com/\">Sunset Mercantile\u003c/a>, another of the night market’s organizers, says the event’s ultimate goal is to show off the diversity of the Sunset and to “help bring a lot more attention to these wonderful brick-and-mortars that line Irving Street.”\u003c/p>\n\u003cp>Some \u003ca href=\"https://sfstandard.com/2025/07/10/sunset-irving-street-night-market-cancelled-recall/\">media reports\u003c/a> speculated that last year’s run of night markets may have been scuttled at least in part for political reasons — which is to say, because the Sunset Night Market was too closely associated with embattled (and eventually recalled) District 4 Supervisor Joel Engardio, who helped spearhead the event in 2023. Wong and Petitt, however, are adamant that politics had nothing to do with it. Instead, they say, the problem mostly had to do with funding. In particular, there was an \u003ca href=\"https://www.cbsnews.com/sanfrancisco/news/san-francisco-sunset-night-market-canceled-in-2025/\">eight-month delay\u003c/a> before organizers received the $120,000 in city grant money promised by San Francisco’s Office of Economic and Workforce Development (OEWD) for the 2024 markets.\u003c/p>\n\u003cfigure id=\"attachment_13985634\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-32-JY-KQED.jpg\" alt=\"A father carries his young daughter on his shoulders as she eats food from a Chinese takeout carton.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-32-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-32-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-32-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-32-JY-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">3-year-old Maise Lee eats rice while sitting on her dad Edward Young Lee’s shoulders at 2023’s inaugural Sunset Night Market. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We just weren’t confident that we could run the market when we were already in debt, so that took a little bit of time to figure out,” Wong says.\u003c/p>\n\u003cp>For now, the 2026 iteration of the night market is being funded by grants from both the OEWD and the nonprofit \u003ca href=\"https://www.avenuegreenlightsf.org/\">Avenue Greenlight\u003c/a> — though Wong stresses that they’re still looking for additional sponsors.\u003c/p>\n\u003cp>Meanwhile, even though the huge scale of the night market’s 2024 season made it one of the splashiest events in the city, the market’s seven-block footprint also posed significant challenges. Those events drew 20,000 visitors to the Sunset each night, which was a boon to some of the local businesses — but the street closures and huge crowds proved to be a big inconvenience for others.\u003c/p>\n\u003cfigure id=\"attachment_13985637\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02776.jpg\" alt=\"A crowd of diners seated outside a Chinese restaurant.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02776.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02776-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02776-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/LOV02776-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of diners seated outside Yuanbao Jiaozi, a local Sunset District restaurant, during one of the 2024 night markets. \u003ccite>(Jimmy Love, courtesy of Sunset Night Market)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s events will be “right-sized” to five blocks instead of seven — a happy medium that Wong hopes is more viable for the future. And while organizers have applied to host the first two night markets (on Feb. 27 and June 12) on Irving Street, Wong says they’re open to moving future editions to other parts of the greater Sunset area — perhaps to Parkside or Noriega Street — if business owners in those neighborhoods are interested.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Even at this slightly smaller scale, Petitt says this year’s markets should have all the hallmarks of the Sunset Night Market’s past successes — music, cultural performances, games and other family-friendly activities, celebrity chef appearances and, of course, hot food. While organizers are still curating the Feb. 27 lineup, Petitt says some of the likely food vendors include Filipino dessert pop-up \u003ca href=\"https://www.instagram.com/loulouslecheflan/?hl=en\">Loulou’s Leche Flan\u003c/a>, Korean-Mexican fusion candymaker \u003ca href=\"https://www.instagram.com/kimoysf/?hl=en\">Kimoy Chamoy\u003c/a>, Taiwanese bento cult favorite \u003ca href=\"https://www.instagram.com/mitk1655/\">MITK Taiwanese Kitchen\u003c/a>, Jamaican hand pie specialist \u003ca href=\"https://www.instagram.com/peachespatties/?hl=en\">Peaches Patties\u003c/a> and more — plus a host of Irving Street restaurants that will be open for business.\u003c/p>\n\u003cfigure id=\"attachment_13985639\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985639\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-36-JY-KQED.jpg\" alt=\"People strolling a crowded night market.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-36-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-36-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-36-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20230915-SunsetNightMarket-36-JY-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Visitors strolling the Irving Street night market in 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night market’s return is especially important for the neighborhood’s Chinese cultural district, which is hitting its five-year anniversary. “During the pandemic, there was a lot of hate toward Asians. It was a double whammy for our Chinese-owned small businesses that have consistently served the community,” Wong says. Even now, she adds, many of those businesses still haven’t gotten back to pre-pandemic levels.\u003c/p>\n\u003cp>“It’s not that hard to get to the Sunset,” she says. “A lot of these businesses are family-owned, and they need our support. Come check them out.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The first \u003c/i>\u003ca href=\"https://www.instagram.com/p/DTOhjoukovY/\">\u003ci>Sunset Night Market\u003c/i>\u003c/a>\u003ci> of 2026 will take place on Feb. 27, 5–10 p.m., on Irving Street between 20th and 25th avenues in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This year marks the United States’ bisesquicentennial, or semiquincentennial, or sestercentennial, depending on what you feel like calling America’s 250th birthday. Whichever word you choose, it’s zero fun to pronounce. Even less fun is thinking about how free the United States \u003cem>doesn’t\u003c/em> feel in this moment.\u003c/p>\n\u003cp>[aside postid='arts_13985145']God bless the San Francisco Center of the Book, then, for reflecting the anxieties of everyone in this fine land who’s despaired at — oh, I don’t know — tax dollars paying to \u003ca href=\"https://www.kqed.org/news/12069211/after-maduros-capture-venezuela-faces-old-u-s-shadows-and-uncertain-future\">bomb other countries\u003c/a>, an ICE agent \u003ca href=\"https://www.kqed.org/news/12069104/bay-area-immigrant-defense-groups-report-surge-in-support-after-minneapolis-ice-killing\">fatally shooting Renee Good in the face\u003c/a>, and the federal defunding of pretty much anything that helps the \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">arts\u003c/a>, the \u003ca href=\"https://www.kqed.org/forum/2010101909572/how-president-trump-aims-to-dismantle-environmental-protections\">environment\u003c/a> and the most vulnerable people living on this soil.\u003c/p>\n\u003cp>SFCB’s current exhibit, \u003cem>Who Is America at 250? Artists’ Books on the State of Democracy\u003c/em>, takes a long, uneasy look at the issues plaguing the nation two and a half centuries after the signing of the Declaration of Independence. The exhibit examines what it means to be an American, what rights citizens really have, and how — and where — law and order is wielded.\u003c/p>\n\u003cfigure id=\"attachment_13985430\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/kakeart-01.jpg\" alt=\"An open magazine. The left page features a close up illustration of a human ear with the word FEARS. The right page features the text 'Everyone has the right to life, liberty and security of person.'\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/kakeart-01.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/kakeart-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/kakeart-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/kakeart-01-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Whereas We Declare’ by KaKeART (Ann Kalmbach, Tatana Kellner). \u003ccite>(Von Span, 2025)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by \u003ca href=\"https://bettybrightbookart.com/\">Betty Bright\u003c/a>, \u003ca href=\"https://www.instagram.com/dimunation/?hl=en\">Mark Dimunation\u003c/a>, \u003ca href=\"https://maymanahfarhat.com/\">Maymanah Farhat\u003c/a>, \u003ca href=\"https://www.yukapetz.com/\">Yuka Petz\u003c/a> and \u003ca href=\"https://www.facebook.com/ruthrogersprintmaking/\">Ruth Rogers\u003c/a>, the exhibit is both an interrogation of where the U.S. is today and a look back at how we got here. Technically, the exhibit is broken up into four distinct sections: (1) Hope / Possibility / Transformation / Vision, (2) Truth / Awareness / Responsibility / Questioning, (3) Justice / Equality / Rights / Resistance, and (4) Belonging / Memory / Compassion / Voice.\u003c/p>\n\u003cp>If there’s a single overarching thread, however, it concerns white supremacy — how racial inequalities weaved their way into the fabric of the nation, how they continue to impact daily culture, and what bigotry has taken away from citizens. Many of \u003cem>Who Is America at 250?\u003c/em>’s most impactful pieces encompass these themes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book formats on display vary wildly. Messages are conveyed via screenprints, building blocks, accordion books, wood engravings, hand-stitched pages, leather panels, formica boxes and more. Viewed together, the diversity of textures used to convey the artists’ perspectives only strengthens their individual points.\u003c/p>\n\u003cp>[aside postid='arts_13984778']One standout is Beth Theilen’s \u003cem>The Tower Book\u003c/em>, appearing as screenprints constructed to look like a prison tower but with a base that flips open to reveal four handmade books. Thielen created the piece in collaboration with incarcerated women and men, some of them at San Quentin. Pages from one book in SFCB’s display case are left open to reveal the words of Shonna Larabee, describing her arrival at the California Rehabilitation Center in Norco.\u003c/p>\n\u003cp>“Walking to the R and R department,” Larabee writes, “I remember seeing all new faces watching me and someone yelling from the window above, ‘Welcome to Hell and Satan is your coordinator.’”\u003c/p>\n\u003cfigure id=\"attachment_13985582\" class=\"wp-caption aligncenter\" style=\"max-width: 1432px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/beth-tower-book.png\" alt=\"An artist's rendition of a prison guard tower constructed out of screenprinted materials with four books unfolding from the central column.\" width=\"1432\" height=\"1394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/beth-tower-book.png 1432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/beth-tower-book-160x156.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/beth-tower-book-768x748.png 768w\" sizes=\"auto, (max-width: 1432px) 100vw, 1432px\">\u003cfigcaption class=\"wp-caption-text\">Beth Theilen’s ‘The Tower Book.’ (2020) \u003ccite>(Courtesy of the San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another memorable moment is provided by \u003ca href=\"https://www.kylegoen.net/#/black-panther-party-stamp-book-2021/\">Kyle Goen’s \u003cem>The Black Panther Party Stamp Book\u003c/em>\u003c/a> (2021). This blue clamshell box emblazoned with the Black Panthers’ logo contains sheets of postage stamps honoring Angela Davis, George Jackson, political prisoners, and 22 other designs. Goen created the piece inspired by a single line in Public Enemy’s “Fight the Power”: “Most of my heroes still don’t appear on no stamp.”\u003c/p>\n\u003cp>[aside postid='arts_13985413']Uncomfortable though it may be to hold the United States under a microscope at the very moment we’re supposed to be celebrating it, \u003cem>Who Is America at 250?\u003c/em> reminds the viewer that independent, critical thinking is as American as stars and stripes. More than that, the exhibit constitutes an important reminder of something else: the healing power of the arts, and how art itself can guide us through turbulent times.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>An opening reception for ‘Who is America at 250? Artists’ Books on the State of Democracy’ takes place on Jan. 23, 2026, at 6 p.m. at the \u003ca href=\"https://www.sfcb.org/events/calendar/who-is-america-opening-reception\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St., San Francisco). The exhibition will be on view through March 8 before traveling to venues in Boston and Minnesota.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>God bless the San Francisco Center of the Book, then, for reflecting the anxieties of everyone in this fine land who’s despaired at — oh, I don’t know — tax dollars paying to \u003ca href=\"https://www.kqed.org/news/12069211/after-maduros-capture-venezuela-faces-old-u-s-shadows-and-uncertain-future\">bomb other countries\u003c/a>, an ICE agent \u003ca href=\"https://www.kqed.org/news/12069104/bay-area-immigrant-defense-groups-report-surge-in-support-after-minneapolis-ice-killing\">fatally shooting Renee Good in the face\u003c/a>, and the federal defunding of pretty much anything that helps the \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">arts\u003c/a>, the \u003ca href=\"https://www.kqed.org/forum/2010101909572/how-president-trump-aims-to-dismantle-environmental-protections\">environment\u003c/a> and the most vulnerable people living on this soil.\u003c/p>\n\u003cp>SFCB’s current exhibit, \u003cem>Who Is America at 250? Artists’ Books on the State of Democracy\u003c/em>, takes a long, uneasy look at the issues plaguing the nation two and a half centuries after the signing of the Declaration of Independence. The exhibit examines what it means to be an American, what rights citizens really have, and how — and where — law and order is wielded.\u003c/p>\n\u003cfigure id=\"attachment_13985430\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/kakeart-01.jpg\" alt=\"An open magazine. The left page features a close up illustration of a human ear with the word FEARS. The right page features the text 'Everyone has the right to life, liberty and security of person.'\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/kakeart-01.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/kakeart-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/kakeart-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/kakeart-01-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Whereas We Declare’ by KaKeART (Ann Kalmbach, Tatana Kellner). \u003ccite>(Von Span, 2025)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by \u003ca href=\"https://bettybrightbookart.com/\">Betty Bright\u003c/a>, \u003ca href=\"https://www.instagram.com/dimunation/?hl=en\">Mark Dimunation\u003c/a>, \u003ca href=\"https://maymanahfarhat.com/\">Maymanah Farhat\u003c/a>, \u003ca href=\"https://www.yukapetz.com/\">Yuka Petz\u003c/a> and \u003ca href=\"https://www.facebook.com/ruthrogersprintmaking/\">Ruth Rogers\u003c/a>, the exhibit is both an interrogation of where the U.S. is today and a look back at how we got here. Technically, the exhibit is broken up into four distinct sections: (1) Hope / Possibility / Transformation / Vision, (2) Truth / Awareness / Responsibility / Questioning, (3) Justice / Equality / Rights / Resistance, and (4) Belonging / Memory / Compassion / Voice.\u003c/p>\n\u003cp>If there’s a single overarching thread, however, it concerns white supremacy — how racial inequalities weaved their way into the fabric of the nation, how they continue to impact daily culture, and what bigotry has taken away from citizens. Many of \u003cem>Who Is America at 250?\u003c/em>’s most impactful pieces encompass these themes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book formats on display vary wildly. Messages are conveyed via screenprints, building blocks, accordion books, wood engravings, hand-stitched pages, leather panels, formica boxes and more. Viewed together, the diversity of textures used to convey the artists’ perspectives only strengthens their individual points.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One standout is Beth Theilen’s \u003cem>The Tower Book\u003c/em>, appearing as screenprints constructed to look like a prison tower but with a base that flips open to reveal four handmade books. Thielen created the piece in collaboration with incarcerated women and men, some of them at San Quentin. Pages from one book in SFCB’s display case are left open to reveal the words of Shonna Larabee, describing her arrival at the California Rehabilitation Center in Norco.\u003c/p>\n\u003cp>“Walking to the R and R department,” Larabee writes, “I remember seeing all new faces watching me and someone yelling from the window above, ‘Welcome to Hell and Satan is your coordinator.’”\u003c/p>\n\u003cfigure id=\"attachment_13985582\" class=\"wp-caption aligncenter\" style=\"max-width: 1432px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/beth-tower-book.png\" alt=\"An artist's rendition of a prison guard tower constructed out of screenprinted materials with four books unfolding from the central column.\" width=\"1432\" height=\"1394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/beth-tower-book.png 1432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/beth-tower-book-160x156.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/beth-tower-book-768x748.png 768w\" sizes=\"auto, (max-width: 1432px) 100vw, 1432px\">\u003cfigcaption class=\"wp-caption-text\">Beth Theilen’s ‘The Tower Book.’ (2020) \u003ccite>(Courtesy of the San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another memorable moment is provided by \u003ca href=\"https://www.kylegoen.net/#/black-panther-party-stamp-book-2021/\">Kyle Goen’s \u003cem>The Black Panther Party Stamp Book\u003c/em>\u003c/a> (2021). This blue clamshell box emblazoned with the Black Panthers’ logo contains sheets of postage stamps honoring Angela Davis, George Jackson, political prisoners, and 22 other designs. Goen created the piece inspired by a single line in Public Enemy’s “Fight the Power”: “Most of my heroes still don’t appear on no stamp.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Uncomfortable though it may be to hold the United States under a microscope at the very moment we’re supposed to be celebrating it, \u003cem>Who Is America at 250?\u003c/em> reminds the viewer that independent, critical thinking is as American as stars and stripes. More than that, the exhibit constitutes an important reminder of something else: the healing power of the arts, and how art itself can guide us through turbulent times.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>An opening reception for ‘Who is America at 250? Artists’ Books on the State of Democracy’ takes place on Jan. 23, 2026, at 6 p.m. at the \u003ca href=\"https://www.sfcb.org/events/calendar/who-is-america-opening-reception\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St., San Francisco). The exhibition will be on view through March 8 before traveling to venues in Boston and Minnesota.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Mission District Dance Party Wants to ‘Melt the ICE’",
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"content": "\u003cp>This Sunday, like so many other nights at the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> queer bar \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a>, the dance floor will fill up with partygoers getting down to a live set of Latin fusion beats. There will be a full lineup of all trans DJs. There will be homemade tamales.\u003c/p>\n\u003cp>But the goal of this dance party won’t \u003cem>only \u003c/em>be for everyone to have a good time. Organized by the queer mutual aid collective \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Abundance Alchemy\u003c/a>, the Jan. 18 event will double as a fundraiser to support Bay Area families impacted by the recent spate of ICE deportation crackdowns — and as a form of grassroots resistance, its organizers say.\u003c/p>\n\u003cp>The name of the party? The \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Melt the ICE Fest\u003c/a>.\u003c/p>\n\u003cp>Collective member Yara, an Oakland-based visual artist, explains that Abundance Alchemy formed in late in 2023 in response to the widespread death and destruction happening in Gaza, as well as the police crackdowns on protests right here in the Bay Area. The idea, Yara says, was to figure out how folks could mobilize to help ease some of the suffering they were witnessing.\u003c/p>\n\u003cp>The collective’s first action was an art raffle in early 2024 that wound up raising $2,000 for organizations doing on-the-ground work to support victims in Palestine, Congo and Sudan. “That made us realize, ‘Oh, we can do something!'” Yara says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since then, the collective has mostly focused on distributing food, clothing and other supplies to unhoused communities in Oakland and San Francisco. It now has 25 to 30 active members, most of them queer, spread all over the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13985527\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg\" alt=\"People pass out food in grocery bags from the trunk of a car.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Abundance Alchemy passing out food. \u003ccite>(Courtesy of Abundance Alchemy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunday’s “Melt the ICE” event comes at a time when ICE’s aggressive, often violent deportation campaigns have sparked outrage nationwide, especially in the wake of an federal immigration agent’s \u003ca href=\"https://www.kqed.org/news/12069104/bay-area-immigrant-defense-groups-report-surge-in-support-after-minneapolis-ice-killing\">fatal shooting of Minneapolis mother Renee Good\u003c/a> last week. “\u003cspan style=\"font-weight: 400\">It’s heartbreaking what’s happening ,” Yara says. “The way they’re just killing people in the street is disgusting.”\u003c/span>\u003c/p>\n\u003cp>That said, Yara notes that the fundraising event has been in the works ever since ICE agents started \u003ca href=\"https://www.vox.com/policy/474842/ice-enforcement-operation-culture-violence-minneapolis-border\">ramping up the aggressiveness\u003c/a> of their on-the-ground tactics \u003ca href=\"https://www.kqed.org/news/12057190/fear-of-ice-raids-drains-sales-for-businesses-in-oaklands-fruitvale\">this past fall\u003c/a>. Members of Abundance Alchemy wanted to raise money to support local immigrant communities, but they also wanted do something fun and celebratory.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">In this world we live in where everything can feel so bleak, sometimes we need to make things that will make us happy and make us come together in joy — to not only cry together but dance together, and share in this trauma together,” Yara says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='news_12069590,arts_13953497']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Slowly, the different elements of the event came together: El Rio was an obvious fit to host because of how queer-friendly it is — and the bar was even willing to waive its usual fees for the fundraiser. A local cook, \u003ca href=\"https://www.instagram.com/veritas_cooking/\">Verita\u003c/a>, volunteered to make tamales to sell at the event. A ceramicist will also have a table set up.\u003c/p>\n\u003cp>Meanwhile, the fact that the DJ lineup is all trans wasn’t something they planned on purpose, Yara says. Those were just the DJs who responded to their call for volunteers. “They were the people who stepped up,” Yara says.\u003c/p>\n\u003cp>According to Yara, the bulk of the money raised at Sunday’s event will be distributed directly to a handful of Bay Area families who have been impacted by the ICE crackdowns. If there are extra funds, they’ll be donated to the Oakland Education Alliance’s \u003ca href=\"https://www.instagram.com/oea_rapidresponse/\">Rapid Response Team\u003c/a>, which provides legal services to immigrant families facing deportation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/DTG7HGbEoZS/\">Melt the Ice Fest\u003c/a>, featuring DeAlma, Tranzmutation, DJMJ and Maryama, will take place at El Rio (3158 Mission St., San Francisco) on Sunday, Jan. 18, 3–8 p.m. The door fee will be a sliding scale of $10–$20. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Proceeds from the Jan. 18 fundraiser at El Rio will support Bay Area families affected by ICE.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Sunday, like so many other nights at the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> queer bar \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a>, the dance floor will fill up with partygoers getting down to a live set of Latin fusion beats. There will be a full lineup of all trans DJs. There will be homemade tamales.\u003c/p>\n\u003cp>But the goal of this dance party won’t \u003cem>only \u003c/em>be for everyone to have a good time. Organized by the queer mutual aid collective \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Abundance Alchemy\u003c/a>, the Jan. 18 event will double as a fundraiser to support Bay Area families impacted by the recent spate of ICE deportation crackdowns — and as a form of grassroots resistance, its organizers say.\u003c/p>\n\u003cp>The name of the party? The \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Melt the ICE Fest\u003c/a>.\u003c/p>\n\u003cp>Collective member Yara, an Oakland-based visual artist, explains that Abundance Alchemy formed in late in 2023 in response to the widespread death and destruction happening in Gaza, as well as the police crackdowns on protests right here in the Bay Area. The idea, Yara says, was to figure out how folks could mobilize to help ease some of the suffering they were witnessing.\u003c/p>\n\u003cp>The collective’s first action was an art raffle in early 2024 that wound up raising $2,000 for organizations doing on-the-ground work to support victims in Palestine, Congo and Sudan. “That made us realize, ‘Oh, we can do something!'” Yara says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, the collective has mostly focused on distributing food, clothing and other supplies to unhoused communities in Oakland and San Francisco. It now has 25 to 30 active members, most of them queer, spread all over the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13985527\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg\" alt=\"People pass out food in grocery bags from the trunk of a car.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Abundance Alchemy passing out food. \u003ccite>(Courtesy of Abundance Alchemy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunday’s “Melt the ICE” event comes at a time when ICE’s aggressive, often violent deportation campaigns have sparked outrage nationwide, especially in the wake of an federal immigration agent’s \u003ca href=\"https://www.kqed.org/news/12069104/bay-area-immigrant-defense-groups-report-surge-in-support-after-minneapolis-ice-killing\">fatal shooting of Minneapolis mother Renee Good\u003c/a> last week. “\u003cspan style=\"font-weight: 400\">It’s heartbreaking what’s happening ,” Yara says. “The way they’re just killing people in the street is disgusting.”\u003c/span>\u003c/p>\n\u003cp>That said, Yara notes that the fundraising event has been in the works ever since ICE agents started \u003ca href=\"https://www.vox.com/policy/474842/ice-enforcement-operation-culture-violence-minneapolis-border\">ramping up the aggressiveness\u003c/a> of their on-the-ground tactics \u003ca href=\"https://www.kqed.org/news/12057190/fear-of-ice-raids-drains-sales-for-businesses-in-oaklands-fruitvale\">this past fall\u003c/a>. Members of Abundance Alchemy wanted to raise money to support local immigrant communities, but they also wanted do something fun and celebratory.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">In this world we live in where everything can feel so bleak, sometimes we need to make things that will make us happy and make us come together in joy — to not only cry together but dance together, and share in this trauma together,” Yara says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Slowly, the different elements of the event came together: El Rio was an obvious fit to host because of how queer-friendly it is — and the bar was even willing to waive its usual fees for the fundraiser. A local cook, \u003ca href=\"https://www.instagram.com/veritas_cooking/\">Verita\u003c/a>, volunteered to make tamales to sell at the event. A ceramicist will also have a table set up.\u003c/p>\n\u003cp>Meanwhile, the fact that the DJ lineup is all trans wasn’t something they planned on purpose, Yara says. Those were just the DJs who responded to their call for volunteers. “They were the people who stepped up,” Yara says.\u003c/p>\n\u003cp>According to Yara, the bulk of the money raised at Sunday’s event will be distributed directly to a handful of Bay Area families who have been impacted by the ICE crackdowns. If there are extra funds, they’ll be donated to the Oakland Education Alliance’s \u003ca href=\"https://www.instagram.com/oea_rapidresponse/\">Rapid Response Team\u003c/a>, which provides legal services to immigrant families facing deportation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/DTG7HGbEoZS/\">Melt the Ice Fest\u003c/a>, featuring DeAlma, Tranzmutation, DJMJ and Maryama, will take place at El Rio (3158 Mission St., San Francisco) on Sunday, Jan. 18, 3–8 p.m. The door fee will be a sliding scale of $10–$20. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Music and All That Jazz at This Year’s Noir City Film Festival",
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"content": "\u003cp>Treachery and deceit swirl all around us. Every awards season, it seems, there’s an \u003ca href=\"https://www.kqed.org/arts/tag/oscars\">Oscar\u003c/a> given to the right person, but for the wrong film. Sometimes it’s an actor (Al Pacino for \u003cem>Scent of a Woman\u003c/em>), sometimes it’s a director (Martin Scorcese for \u003cem>The Departed\u003c/em>).\u003c/p>\n\u003cp>And sometimes it’s a singer.\u003c/p>\n\u003cp>If you see any movie at this year’s \u003ca href=\"https://www.noircity.com/\">Noir City\u003c/a> festival, running Jan. 16–25 at Oakland’s \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>, make it \u003cem>The Man With the Golden Arm\u003c/em>, starring Frank Sinatra. At the time a skinny crooner who’d just won Best Supporting Actor for \u003cem>From Here to Eternity\u003c/em>, Ol’ Blue Eyes turns in his actual greatest-ever acting performance as a jazz drummer \u003ca href=\"https://www.youtube.com/watch?v=MmqTc07linY\">desperately trying\u003c/a> — with girlfriend Kim Novak — to kick his debilitating heroin addiction.\u003c/p>\n\u003cfigure id=\"attachment_13985493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra and Kim Novak in ‘The Man With the Golden Arm,’ directed by Otto Preminger in 1955. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Screening in a double feature at Noir City with \u003cem>The Sweet Smell of Success\u003c/em> (from the bygone age of 1957, when critics actually held power over performing artists’ fortunes), \u003cem>The Man With the Golden Arm\u003c/em>, with its pulsing, blaring jazz music by Elmer Bernstein, marked a sea change in film scores.\u003c/p>\n\u003cp>Eddie Muller knows the cliché all too well of a black-and-white noir movie from the 1940s, with its “a lonesome wailing saxophone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Except that brass instruments were hardly used at all in 1940s scores, Muller explains in a recent interview. “In the 1940s, Hollywood had their studio orchestras, and were still beholden to that classic European orchestral score approach,” he says. “But in the ’50s, that really changed, and \u003cem>The Man With the Golden Arm\u003c/em> had a lot to do with that.”\u003c/p>\n\u003cfigure id=\"attachment_13985492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ida Lupino as a lounge singer in ‘The Man I Love,’ directed by Raoul Walsh in 1947. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the kind of deep knowledge I anticipated from a conversation with Muller, who since 2003 has hosted Noir City, a celebration of all things double-crossing and murderous on the silver screen. Each year, the hugely popular festival follows a theme; the first year I attended and realized I’d found my people, it was newspapers. This year’s is music.\u003c/p>\n\u003cp>That includes films like \u003cem>Gilda\u003c/em>, with Rita Hayworth’s famous glove-removing nightclub performance of “\u003ca href=\"https://www.youtube.com/watch?v=hllEi7bJ4os\">Put the Blame on Me\u003c/a>,” and \u003cem>A Man Called Adam\u003c/em>, starring Sammy Davis Jr. as an alcoholic, self-sabotaging singer and cornet player.\u003c/p>\n\u003cp>It also includes some films that, Muller admits, stretch the definition of film noir, including not one but two Doris Day movies.\u003c/p>\n\u003cfigure id=\"attachment_13985491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doris Day and Kirk Douglas in ‘Young Man With a Horn,’ based on the life of Bix Beiderbecke and directed by Michael Curtiz in 1950. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people see \u003cem>Love Me or Leave Me\u003c/em>, they assume ‘Oh, that’s a Doris Day musical,’” Muller says, adding that people have asked him: How can you possibly pass that off as noir?\u003c/p>\n\u003cp>“And you know, the answer is that Ruth Etting had a very, very noir life,” he explains.\u003c/p>\n\u003cp>Etting, a singer and actress who endured threats, a messy divorce and a murder attempt, is portrayed in \u003cem>Love Me Or Leave Me\u003c/em> not in gritty black and white, but full MGM Technicolor. Likewise, \u003cem>Pete Kelly’s Blues\u003c/em>, with Jack Webb and Janet Leigh, is also in color. But its story is grimy, and its stellar performances by Ella Fitzgerald and Peggy Lee fit the festival’s theme too well to be overlooked.\u003c/p>\n\u003cp>[aside postID='arts_13980003']Speaking of jazz performances, Muller’s lined up a schedule of them to precede each screening, with pianists, guitarists, tap dancers and singer Elizabeth Bougerol (she’s the one on the \u003ca href=\"https://www.noircity.com/\">festival poster\u003c/a> this year, spattered in blood). And he’s more than ready to get on stage and make converts of any noir-naysayers, like the woman behind me at the December festival preview at the Grand Lake, who saw the Elvis Presley film \u003cem>King Creole\u003c/em> flash on screen and remarked “Elvis?! Really?”\u003c/p>\n\u003cp>Muller’s response to that is straightforward: “Watch the movie! It’s gangsters, it’s everything. It’s a typical noir story except the guy is a rock singer.” While other Elvis movies were certified fluff for teenagers, he says, “this one has a serious crime element, it’s in black and white … Like, that’s \u003cem>the\u003c/em> Elvis noir movie.”\u003c/p>\n\u003cfigure id=\"attachment_13985490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-768x510.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexter Gordon in ‘Round Midnight,’ directed by Bertrand Tavernier in 1986. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year also marks the festival’s fourth year at the Grand Lake after leaving its longtime home at the Castro Theatre, which reopens next month to host more concerts than films in a renovated auditorium without its original theater-style seating.\u003c/p>\n\u003cp>Does Muller ever miss the Castro? “I don’t think about it, honestly,” he says. “What I regret is that San Francisco has no opulent single-screen movie palaces anymore. Like, how is that even possible?”\u003c/p>\n\u003cp>Meanwhile, Muller’s happy at the Grand Lake, a glorious 1926 movie palace with a curtain, a Wurlitzer and a community of film lovers who huddle together in the dark each year for a few hours of treachery and deceit on screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noircity.com/\">Noir City 23: Face the Music!\u003c/a> runs Jan. 16–25, 2026 at the Grand Lake Theatre (3200 Grand Ave., Oakland). \u003ca href=\"https://www.noircity.com/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Music and All That Jazz at This Year’s Noir City Film Festival | KQED",
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"headline": "Music and All That Jazz at This Year’s Noir City Film Festival",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Treachery and deceit swirl all around us. Every awards season, it seems, there’s an \u003ca href=\"https://www.kqed.org/arts/tag/oscars\">Oscar\u003c/a> given to the right person, but for the wrong film. Sometimes it’s an actor (Al Pacino for \u003cem>Scent of a Woman\u003c/em>), sometimes it’s a director (Martin Scorcese for \u003cem>The Departed\u003c/em>).\u003c/p>\n\u003cp>And sometimes it’s a singer.\u003c/p>\n\u003cp>If you see any movie at this year’s \u003ca href=\"https://www.noircity.com/\">Noir City\u003c/a> festival, running Jan. 16–25 at Oakland’s \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>, make it \u003cem>The Man With the Golden Arm\u003c/em>, starring Frank Sinatra. At the time a skinny crooner who’d just won Best Supporting Actor for \u003cem>From Here to Eternity\u003c/em>, Ol’ Blue Eyes turns in his actual greatest-ever acting performance as a jazz drummer \u003ca href=\"https://www.youtube.com/watch?v=MmqTc07linY\">desperately trying\u003c/a> — with girlfriend Kim Novak — to kick his debilitating heroin addiction.\u003c/p>\n\u003cfigure id=\"attachment_13985493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra and Kim Novak in ‘The Man With the Golden Arm,’ directed by Otto Preminger in 1955. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Screening in a double feature at Noir City with \u003cem>The Sweet Smell of Success\u003c/em> (from the bygone age of 1957, when critics actually held power over performing artists’ fortunes), \u003cem>The Man With the Golden Arm\u003c/em>, with its pulsing, blaring jazz music by Elmer Bernstein, marked a sea change in film scores.\u003c/p>\n\u003cp>Eddie Muller knows the cliché all too well of a black-and-white noir movie from the 1940s, with its “a lonesome wailing saxophone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Except that brass instruments were hardly used at all in 1940s scores, Muller explains in a recent interview. “In the 1940s, Hollywood had their studio orchestras, and were still beholden to that classic European orchestral score approach,” he says. “But in the ’50s, that really changed, and \u003cem>The Man With the Golden Arm\u003c/em> had a lot to do with that.”\u003c/p>\n\u003cfigure id=\"attachment_13985492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ida Lupino as a lounge singer in ‘The Man I Love,’ directed by Raoul Walsh in 1947. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the kind of deep knowledge I anticipated from a conversation with Muller, who since 2003 has hosted Noir City, a celebration of all things double-crossing and murderous on the silver screen. Each year, the hugely popular festival follows a theme; the first year I attended and realized I’d found my people, it was newspapers. This year’s is music.\u003c/p>\n\u003cp>That includes films like \u003cem>Gilda\u003c/em>, with Rita Hayworth’s famous glove-removing nightclub performance of “\u003ca href=\"https://www.youtube.com/watch?v=hllEi7bJ4os\">Put the Blame on Me\u003c/a>,” and \u003cem>A Man Called Adam\u003c/em>, starring Sammy Davis Jr. as an alcoholic, self-sabotaging singer and cornet player.\u003c/p>\n\u003cp>It also includes some films that, Muller admits, stretch the definition of film noir, including not one but two Doris Day movies.\u003c/p>\n\u003cfigure id=\"attachment_13985491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doris Day and Kirk Douglas in ‘Young Man With a Horn,’ based on the life of Bix Beiderbecke and directed by Michael Curtiz in 1950. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people see \u003cem>Love Me or Leave Me\u003c/em>, they assume ‘Oh, that’s a Doris Day musical,’” Muller says, adding that people have asked him: How can you possibly pass that off as noir?\u003c/p>\n\u003cp>“And you know, the answer is that Ruth Etting had a very, very noir life,” he explains.\u003c/p>\n\u003cp>Etting, a singer and actress who endured threats, a messy divorce and a murder attempt, is portrayed in \u003cem>Love Me Or Leave Me\u003c/em> not in gritty black and white, but full MGM Technicolor. Likewise, \u003cem>Pete Kelly’s Blues\u003c/em>, with Jack Webb and Janet Leigh, is also in color. But its story is grimy, and its stellar performances by Ella Fitzgerald and Peggy Lee fit the festival’s theme too well to be overlooked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of jazz performances, Muller’s lined up a schedule of them to precede each screening, with pianists, guitarists, tap dancers and singer Elizabeth Bougerol (she’s the one on the \u003ca href=\"https://www.noircity.com/\">festival poster\u003c/a> this year, spattered in blood). And he’s more than ready to get on stage and make converts of any noir-naysayers, like the woman behind me at the December festival preview at the Grand Lake, who saw the Elvis Presley film \u003cem>King Creole\u003c/em> flash on screen and remarked “Elvis?! Really?”\u003c/p>\n\u003cp>Muller’s response to that is straightforward: “Watch the movie! It’s gangsters, it’s everything. It’s a typical noir story except the guy is a rock singer.” While other Elvis movies were certified fluff for teenagers, he says, “this one has a serious crime element, it’s in black and white … Like, that’s \u003cem>the\u003c/em> Elvis noir movie.”\u003c/p>\n\u003cfigure id=\"attachment_13985490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-768x510.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexter Gordon in ‘Round Midnight,’ directed by Bertrand Tavernier in 1986. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year also marks the festival’s fourth year at the Grand Lake after leaving its longtime home at the Castro Theatre, which reopens next month to host more concerts than films in a renovated auditorium without its original theater-style seating.\u003c/p>\n\u003cp>Does Muller ever miss the Castro? “I don’t think about it, honestly,” he says. “What I regret is that San Francisco has no opulent single-screen movie palaces anymore. Like, how is that even possible?”\u003c/p>\n\u003cp>Meanwhile, Muller’s happy at the Grand Lake, a glorious 1926 movie palace with a curtain, a Wurlitzer and a community of film lovers who huddle together in the dark each year for a few hours of treachery and deceit on screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noircity.com/\">Noir City 23: Face the Music!\u003c/a> runs Jan. 16–25, 2026 at the Grand Lake Theatre (3200 Grand Ave., Oakland). \u003ca href=\"https://www.noircity.com/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mlk-day-events-bay-area-guide-2026",
"title": "Your Guide to MLK Day Events Around the Bay Area",
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"content": "\u003cp>This year’s \u003ca href=\"https://www.kqed.org/arts/tag/martin-luther-king-jr\">Martin Luther King Jr.\u003c/a> Day marks the first year the federal holiday is \u003ca href=\"https://www.npr.org/2025/12/06/g-s1-101090/national-parks-fee-free-calendar-mlk-juneteenth\">not included on the list of entrance fee-free days\u003c/a> to national parks, a choice made by the Trump administration towards the end of 2025. Despite this regression and ongoing attacks on civil rights nationwide, the Bay Area stands strong with a range of events this weekend to honor King’s enduring vision.\u003c/p>\n\u003cp>From volunteer opportunities to live performances, here’s a roundup of select ways to commemorate the day.\u003c/p>\n\u003cfigure id=\"attachment_13985454\" class=\"wp-caption aligncenter\" style=\"max-width: 1981px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026.jpg\" alt=\"\" width=\"1981\" height=\"1052\" class=\"size-full wp-image-13985454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026.jpg 1981w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-1536x816.jpg 1536w\" sizes=\"auto, (max-width: 1981px) 100vw, 1981px\">\u003cfigcaption class=\"wp-caption-text\">The \u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/2026-mlk-music-festival/\">2026 MLK Music Festival \u003c/a>takes place on Monday, Jan. 19 at Yerba Buena Gardens as part of the ‘MLK2026’ series. \u003ccite>(MLK2026)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/\">MLK2026\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Ongoing through Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, San Francisco\u003c/i>\u003c/p>\n\u003cp>MLK2026 features a week of programs exploring human and civil rights in a time of technological and legal uncertainty. Events include conversations with distinguished thinkers, a tribute to Howard Thurman, prayers, music, readings and workshops on diversity and immigration. The week also includes the MLK Labor and Community Breakfast, the Willie B. Kennedy Civic Service Award, a memorial reflection, and a music festival. \u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/2026-mlk-commemorative-transportation\">Free commemorative passes\u003c/a> for Bay Area transit systems are available for attendees.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sanleandro.org/979/MLK-Celebration\">Oratorical Festival and Poetry Slam\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 17, 2026 \u003c/i>\u003cbr>\n\u003ci>Marina Community Center, San Leandro \u003c/i>\u003c/p>\n\u003cp>The power of words will take center stage as San Leandro students perform original and well-known works that celebrate King’s message of peace and social justice. The day also includes live entertainment, crafts and light refreshments.\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1.jpg\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13898274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On Jan. 17 at the Paramount Theatre, Oakland musicians will pay homage to Sly Stone at ‘In the Name of Love,’ a concert in honor of Martin Luther King Jr. \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13985328/for-mlk-day-living-jazz-in-the-name-of-love-sly-stone\">In the Name of Love: A Tribute to Martin Luther King Jr.\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 17, 2026\u003c/i>\u003cbr>\n\u003ci>Paramount Theatre, Oakland \u003c/i>\u003c/p>\n\u003cp>A night of music-driven celebration, Living Jazz remembers King’s legacy while also paying tribute to the revolutionary sounds of Bay Area icon \u003ca href=\"https://www.kqed.org/arts/13977353/sly-stone-dead-at-82-obituary\">Sly Stone.\u003c/a> Former Sly and the Family Stone bassist Rustee Allen joins the night alongside an ensemble of powerful singers and musicians — including Kev Choice, Adrian Marcel, Black London, Martin Luther McCoy, August Lee Stevens and B DeVeaux — performing reimagined versions of classics like “Everyday People” and “Dance to the Music.”\u003c/p>\n\u003ch2>\u003ca href=\"https://mlk365.org/the-march/?emci=e6b5bd9a-bbb8-ef11-88d0-000d3a9d5840&emdi=94a03b33-efd1-ef11-88d0-0022482a9d92&ceid=83345443\">44th Annual March for the Dream\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Sacramento\u003c/i>\u003c/p>\n\u003cp>This community walk honors King’s legacy and desire to strengthen community. Starting at Sacramento City College, marchers will walk the 4.6-mile route to the SAFE Credit Union Convention Center. The first mile will be symbolically walked in silence as a protest to ongoing injustices and as an opportunity to reflect on the past.\u003c/p>\n\u003cfigure id=\"attachment_13985458\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13985458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-2048x1638.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Glide Ensemble perform at the Museum of the African Diaspora’s MLK Day celebration in 2025. \u003ccite>(Najee Tobin/ Courtesy MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.moadsf.org/event/dr-martin-luther-king-jr-free-community-day-free-admission\">MoAD Dr. Martin Luther King Jr. Free Community Day\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Museum of the African Diaspora, San Francisco \u003c/i>\u003c/p>\n\u003cp>The Museum of the African Diaspora opens its doors for a full day of free admission and programs honoring MLK. The schedule includes performances from Prescott Circus Theatre and the Glide Memorial Ensemble, as well as a presentation by Mahealani Uchiyama, who explores the connections between MLK and Indigenous rights movements in Hawai’i. There will also be a scavenger hunt to explore the museum’s current exhibitions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>\u003ca href=\"https://www.antipoliceterrorproject.org/reclaim-mlk-2025\">March to Reclaim MLK’s Radical Legacy\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Oakland\u003c/i>\u003c/p>\n\u003cp>This 12th annual march centers around King’s “uncompromising vision for anti-capitalist, anti-war, racial and economic justice.” The march anchors the Anti-Police Terror Project’s Two Weeks of Action, which consists of various trainings, discussions, and community events.\u003c/p>\n\u003cp>The Urban Peace Movement, Youth Together, AYPAL, 67 Sueños, BAY-Peace and CURYJ are all participating as part of this year’s youth contingent, which will feature events like an art build and political education workshop.\u003c/p>\n\u003cfigure id=\"attachment_13985456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-13985456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310-768x432.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the documentary ‘MLK/FBI,’ which explores J. Edgar Hoover’s relentless pursuit of the civil rights leader. \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/events/694b31954be11d3d00d9a4a8\">Dr. Martin Luther King Jr. Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>African American Museum and Library, Oakland \u003c/i>\u003c/p>\n\u003cp>For a full day of film screenings, AAMLO will show five documentaries that trace back to major moments in Black history and the civil rights movement. Including \u003cem>Mighty Times: The Children’s March\u003c/em> and \u003cem>MLK/FBI\u003c/em>, all films are kid-friendly, inviting families into a space for learning and celebration.\u003c/p>\n\u003cp>[aside postID='news_12070047']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.padc.info/mlk26\">29th Annual Dr. Martin Luther King, Jr. Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19\u003c/i>\u003cbr>\n\u003ci>Alan Harvey Theater, Piedmont\u003c/i>\u003c/p>\n\u003cp>For their 29th annual MLK Day celebration, the Piedmont Anti-Racism and Diversity Committee is offering a program featuring a keynote presentation by congresswoman Lateefah Simon. There will also be performances by the Destiny Junior Company dance team, a writing showcase and more.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.contracosta.ca.gov/5307/Dr-Martin-Luther-King-Jr-Ceremony\">Democracy as a Verb: Building on Dr. King’s Legacy in Contra Costa\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 20, 2026\u003c/i>\u003cbr>\n\u003ci>Contra Costa County Administration Building, Contra Costa\u003c/i>\u003c/p>\n\u003cp>Contra Costa County celebrates King’s legacy with an hour-long ceremony honoring the 2025 Humanitarian of the Year and Student Humanitarian of the Year. The event includes live recognition, community reflections, and a free buffet lunch. Streaming is available online and on Contra Costa Television.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003chr>\n\u003ch2>Volunteering/Day of Service\u003c/h2>\n\u003ch2>\u003ca href=\"https://www.antiochca.gov/214/Martin-Luther-King-Jr-Day-of-Service\">\u003cb>Antioch MLK Day of Service\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Antioch\u003c/i>\u003c/p>\n\u003cp>For Antioch’s MLK Day of Service, volunteers will restore the Antioch Skatepark, tackling projects from graffiti removals to bench restorations, while other volunteers will lead the way for an art-filled senior day of engagement at the community center. The day also highlights the Alameda Unified School District Poetry Contest, where students grade 3 through 12 from across the district share their poems under the theme of “Keeping The Dream Alive In Our Community.”\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/16th-annual-martin-luther-king-jr-day-of-service-tickets-1977136302905\">16th Annual Martin Luther King Jr. Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19 2026\u003c/i>\u003cbr>\n\u003ci>Lodestar School, Oakland \u003c/i>\u003c/p>\n\u003cp>The 16th annual MLK Day of Service brings together community members for a range of volunteer projects organized in collaboration with \u003ca href=\"https://www.highergroundndc.com/neighborhood-development\">Higher Ground\u003c/a>, \u003ca href=\"https://rootscommunityhealth.org/\">ROOTS Community Health\u003c/a> and \u003ca href=\"https://rootscommunityhealth.org/\">Lighthouse Community Public Schools.\u003c/a> Activities include a mural painting, greenway beautifications and follower installations, as well as cleanup and restoration efforts at Sobrante Park, MLK Shoreline, and San Leandro Creek.\u003c/p>\n\u003cfigure id=\"attachment_13985463\" class=\"wp-caption aligncenter\" style=\"max-width: 1359px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa.png\" alt=\"\" width=\"1359\" height=\"812\" class=\"size-full wp-image-13985463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa.png 1359w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa-768x459.png 768w\" sizes=\"auto, (max-width: 1359px) 100vw, 1359px\">\u003cfigcaption class=\"wp-caption-text\">MLK Day volunteers at Martin Luther King Jr. Park in Santa Rosa. \u003ccite>(Community Equity Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://communityequityfdn.wixsite.com/community-equity-fou/events/a-day-on-not-a-day-off\">Santa Rosa Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Martin Luther King Jr. Park, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>Volunteers can help clean up Martin Luther King Jr. Park in the South Park area of Santa Rosa, hosted by Community Baptist Church and the Community Equity Foundation. Picking up litter, spreading mulch, weeding and general polishing-up are the order of the day. Tools and snacks provided. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.ebparks.org/MLK-day-service\">East Bay MLK Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026 \u003c/i>\u003cbr>\n\u003ci>Various locations\u003c/i>\u003c/p>\n\u003cp>Volunteers can sign up for groundskeeping at Martin Luther King Jr. Memorial Grove or for shoreline cleanup at either Oakport Staging Area or Arrowhead Marsh.\u003c/p>\n\u003ch2>\u003ca href=\"https://portal.caclimateactioncorps.org/opportunities/zpzT4AGWPz\">\u003cb>MLK Tree Planting and Resource Fair\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>951 O’Connor St., East Palo Alto \u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://canopy.org/\">Canopy\u003c/a> and Ravenswood City School District have partnered together to plant trees at the space that will become East Palo Alto’s largest infant-toddler childcare center. Happening simultaneously will be an MLK park cleanup, which is followed by a barbecue lunch and resource fair. Free shuttles are available for volunteers to travel between sites.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/mlk-day-of-service-planting-with-our-city-forest-at-rainbow-park-tickets-1976927825343?aff=ebdssbdestsearch\">San Jose MLK Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Rainbow Park, San Jose\u003c/i>\u003c/p>\n\u003cp>San Jose nonprofit \u003ca href=\"https://www.ourcityforest.org/\">Our City Forest\u003c/a> is hosting a tree planting volunteer opportunity for their day of service. Volunteers will learn the basics of tree planting from digging holes to mulching soil.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s \u003ca href=\"https://www.kqed.org/arts/tag/martin-luther-king-jr\">Martin Luther King Jr.\u003c/a> Day marks the first year the federal holiday is \u003ca href=\"https://www.npr.org/2025/12/06/g-s1-101090/national-parks-fee-free-calendar-mlk-juneteenth\">not included on the list of entrance fee-free days\u003c/a> to national parks, a choice made by the Trump administration towards the end of 2025. Despite this regression and ongoing attacks on civil rights nationwide, the Bay Area stands strong with a range of events this weekend to honor King’s enduring vision.\u003c/p>\n\u003cp>From volunteer opportunities to live performances, here’s a roundup of select ways to commemorate the day.\u003c/p>\n\u003cfigure id=\"attachment_13985454\" class=\"wp-caption aligncenter\" style=\"max-width: 1981px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026.jpg\" alt=\"\" width=\"1981\" height=\"1052\" class=\"size-full wp-image-13985454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026.jpg 1981w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-1536x816.jpg 1536w\" sizes=\"auto, (max-width: 1981px) 100vw, 1981px\">\u003cfigcaption class=\"wp-caption-text\">The \u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/2026-mlk-music-festival/\">2026 MLK Music Festival \u003c/a>takes place on Monday, Jan. 19 at Yerba Buena Gardens as part of the ‘MLK2026’ series. \u003ccite>(MLK2026)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/\">MLK2026\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Ongoing through Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, San Francisco\u003c/i>\u003c/p>\n\u003cp>MLK2026 features a week of programs exploring human and civil rights in a time of technological and legal uncertainty. Events include conversations with distinguished thinkers, a tribute to Howard Thurman, prayers, music, readings and workshops on diversity and immigration. The week also includes the MLK Labor and Community Breakfast, the Willie B. Kennedy Civic Service Award, a memorial reflection, and a music festival. \u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/2026-mlk-commemorative-transportation\">Free commemorative passes\u003c/a> for Bay Area transit systems are available for attendees.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sanleandro.org/979/MLK-Celebration\">Oratorical Festival and Poetry Slam\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 17, 2026 \u003c/i>\u003cbr>\n\u003ci>Marina Community Center, San Leandro \u003c/i>\u003c/p>\n\u003cp>The power of words will take center stage as San Leandro students perform original and well-known works that celebrate King’s message of peace and social justice. The day also includes live entertainment, crafts and light refreshments.\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1.jpg\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13898274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On Jan. 17 at the Paramount Theatre, Oakland musicians will pay homage to Sly Stone at ‘In the Name of Love,’ a concert in honor of Martin Luther King Jr. \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13985328/for-mlk-day-living-jazz-in-the-name-of-love-sly-stone\">In the Name of Love: A Tribute to Martin Luther King Jr.\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 17, 2026\u003c/i>\u003cbr>\n\u003ci>Paramount Theatre, Oakland \u003c/i>\u003c/p>\n\u003cp>A night of music-driven celebration, Living Jazz remembers King’s legacy while also paying tribute to the revolutionary sounds of Bay Area icon \u003ca href=\"https://www.kqed.org/arts/13977353/sly-stone-dead-at-82-obituary\">Sly Stone.\u003c/a> Former Sly and the Family Stone bassist Rustee Allen joins the night alongside an ensemble of powerful singers and musicians — including Kev Choice, Adrian Marcel, Black London, Martin Luther McCoy, August Lee Stevens and B DeVeaux — performing reimagined versions of classics like “Everyday People” and “Dance to the Music.”\u003c/p>\n\u003ch2>\u003ca href=\"https://mlk365.org/the-march/?emci=e6b5bd9a-bbb8-ef11-88d0-000d3a9d5840&emdi=94a03b33-efd1-ef11-88d0-0022482a9d92&ceid=83345443\">44th Annual March for the Dream\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Sacramento\u003c/i>\u003c/p>\n\u003cp>This community walk honors King’s legacy and desire to strengthen community. Starting at Sacramento City College, marchers will walk the 4.6-mile route to the SAFE Credit Union Convention Center. The first mile will be symbolically walked in silence as a protest to ongoing injustices and as an opportunity to reflect on the past.\u003c/p>\n\u003cfigure id=\"attachment_13985458\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13985458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-2048x1638.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Glide Ensemble perform at the Museum of the African Diaspora’s MLK Day celebration in 2025. \u003ccite>(Najee Tobin/ Courtesy MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.moadsf.org/event/dr-martin-luther-king-jr-free-community-day-free-admission\">MoAD Dr. Martin Luther King Jr. Free Community Day\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Museum of the African Diaspora, San Francisco \u003c/i>\u003c/p>\n\u003cp>The Museum of the African Diaspora opens its doors for a full day of free admission and programs honoring MLK. The schedule includes performances from Prescott Circus Theatre and the Glide Memorial Ensemble, as well as a presentation by Mahealani Uchiyama, who explores the connections between MLK and Indigenous rights movements in Hawai’i. There will also be a scavenger hunt to explore the museum’s current exhibitions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.antipoliceterrorproject.org/reclaim-mlk-2025\">March to Reclaim MLK’s Radical Legacy\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Oakland\u003c/i>\u003c/p>\n\u003cp>This 12th annual march centers around King’s “uncompromising vision for anti-capitalist, anti-war, racial and economic justice.” The march anchors the Anti-Police Terror Project’s Two Weeks of Action, which consists of various trainings, discussions, and community events.\u003c/p>\n\u003cp>The Urban Peace Movement, Youth Together, AYPAL, 67 Sueños, BAY-Peace and CURYJ are all participating as part of this year’s youth contingent, which will feature events like an art build and political education workshop.\u003c/p>\n\u003cfigure id=\"attachment_13985456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-13985456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310-768x432.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the documentary ‘MLK/FBI,’ which explores J. Edgar Hoover’s relentless pursuit of the civil rights leader. \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/events/694b31954be11d3d00d9a4a8\">Dr. Martin Luther King Jr. Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>African American Museum and Library, Oakland \u003c/i>\u003c/p>\n\u003cp>For a full day of film screenings, AAMLO will show five documentaries that trace back to major moments in Black history and the civil rights movement. Including \u003cem>Mighty Times: The Children’s March\u003c/em> and \u003cem>MLK/FBI\u003c/em>, all films are kid-friendly, inviting families into a space for learning and celebration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.padc.info/mlk26\">29th Annual Dr. Martin Luther King, Jr. Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19\u003c/i>\u003cbr>\n\u003ci>Alan Harvey Theater, Piedmont\u003c/i>\u003c/p>\n\u003cp>For their 29th annual MLK Day celebration, the Piedmont Anti-Racism and Diversity Committee is offering a program featuring a keynote presentation by congresswoman Lateefah Simon. There will also be performances by the Destiny Junior Company dance team, a writing showcase and more.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.contracosta.ca.gov/5307/Dr-Martin-Luther-King-Jr-Ceremony\">Democracy as a Verb: Building on Dr. King’s Legacy in Contra Costa\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 20, 2026\u003c/i>\u003cbr>\n\u003ci>Contra Costa County Administration Building, Contra Costa\u003c/i>\u003c/p>\n\u003cp>Contra Costa County celebrates King’s legacy with an hour-long ceremony honoring the 2025 Humanitarian of the Year and Student Humanitarian of the Year. The event includes live recognition, community reflections, and a free buffet lunch. Streaming is available online and on Contra Costa Television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003chr>\n\u003ch2>Volunteering/Day of Service\u003c/h2>\n\u003ch2>\u003ca href=\"https://www.antiochca.gov/214/Martin-Luther-King-Jr-Day-of-Service\">\u003cb>Antioch MLK Day of Service\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Antioch\u003c/i>\u003c/p>\n\u003cp>For Antioch’s MLK Day of Service, volunteers will restore the Antioch Skatepark, tackling projects from graffiti removals to bench restorations, while other volunteers will lead the way for an art-filled senior day of engagement at the community center. The day also highlights the Alameda Unified School District Poetry Contest, where students grade 3 through 12 from across the district share their poems under the theme of “Keeping The Dream Alive In Our Community.”\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/16th-annual-martin-luther-king-jr-day-of-service-tickets-1977136302905\">16th Annual Martin Luther King Jr. Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19 2026\u003c/i>\u003cbr>\n\u003ci>Lodestar School, Oakland \u003c/i>\u003c/p>\n\u003cp>The 16th annual MLK Day of Service brings together community members for a range of volunteer projects organized in collaboration with \u003ca href=\"https://www.highergroundndc.com/neighborhood-development\">Higher Ground\u003c/a>, \u003ca href=\"https://rootscommunityhealth.org/\">ROOTS Community Health\u003c/a> and \u003ca href=\"https://rootscommunityhealth.org/\">Lighthouse Community Public Schools.\u003c/a> Activities include a mural painting, greenway beautifications and follower installations, as well as cleanup and restoration efforts at Sobrante Park, MLK Shoreline, and San Leandro Creek.\u003c/p>\n\u003cfigure id=\"attachment_13985463\" class=\"wp-caption aligncenter\" style=\"max-width: 1359px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa.png\" alt=\"\" width=\"1359\" height=\"812\" class=\"size-full wp-image-13985463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa.png 1359w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa-768x459.png 768w\" sizes=\"auto, (max-width: 1359px) 100vw, 1359px\">\u003cfigcaption class=\"wp-caption-text\">MLK Day volunteers at Martin Luther King Jr. Park in Santa Rosa. \u003ccite>(Community Equity Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://communityequityfdn.wixsite.com/community-equity-fou/events/a-day-on-not-a-day-off\">Santa Rosa Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Martin Luther King Jr. Park, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>Volunteers can help clean up Martin Luther King Jr. Park in the South Park area of Santa Rosa, hosted by Community Baptist Church and the Community Equity Foundation. Picking up litter, spreading mulch, weeding and general polishing-up are the order of the day. Tools and snacks provided. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.ebparks.org/MLK-day-service\">East Bay MLK Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026 \u003c/i>\u003cbr>\n\u003ci>Various locations\u003c/i>\u003c/p>\n\u003cp>Volunteers can sign up for groundskeeping at Martin Luther King Jr. Memorial Grove or for shoreline cleanup at either Oakport Staging Area or Arrowhead Marsh.\u003c/p>\n\u003ch2>\u003ca href=\"https://portal.caclimateactioncorps.org/opportunities/zpzT4AGWPz\">\u003cb>MLK Tree Planting and Resource Fair\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>951 O’Connor St., East Palo Alto \u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://canopy.org/\">Canopy\u003c/a> and Ravenswood City School District have partnered together to plant trees at the space that will become East Palo Alto’s largest infant-toddler childcare center. Happening simultaneously will be an MLK park cleanup, which is followed by a barbecue lunch and resource fair. Free shuttles are available for volunteers to travel between sites.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/mlk-day-of-service-planting-with-our-city-forest-at-rainbow-park-tickets-1976927825343?aff=ebdssbdestsearch\">San Jose MLK Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Rainbow Park, San Jose\u003c/i>\u003c/p>\n\u003cp>San Jose nonprofit \u003ca href=\"https://www.ourcityforest.org/\">Our City Forest\u003c/a> is hosting a tree planting volunteer opportunity for their day of service. Volunteers will learn the basics of tree planting from digging holes to mulching soil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "mosswood-iggy-pop-bikini-kill-dead-milkmen-otoboke-beaver-lineup-oakland-2026",
"title": "Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More",
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"headTitle": "Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More | KQED",
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"content": "\u003cp>The lineup for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland is here. Iggy Pop and Bikini Kill are headliners, along with a stacked schedule of openers that includes Otoboke Beaver, the Dead Milkmen, Corin Tucker and Carrie Brownstein of Sleater-Kinney with Fred Armisen, Scowl, Frightwig, the Dirtbombs and more.\u003c/p>\n\u003cp>Add the already announced \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">festival “pre-party” with Pavement\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">annual host John Waters\u003c/a>, and it’s safe to say: this is the biggest and most impressive Mosswood lineup yet.\u003c/p>\n\u003cp>Both Iggy Pop and Bikini Kill are returning to the annual trash-rock soirée in Mosswood Park. Perpetually shirtless \u003ca href=\"https://www.kqed.org/arts/13569504/burger-boogaloo-breakdown-lots-of-sun-and-hubbub-at-mosswood-park\">Iggy Pop played the park\u003c/a> in 2017, while \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill last appeared\u003c/a> in 2022. (Onstage, singer Kathleen Hanna, who also led a set by Le Tigre the following year, expressed special gratitude for the festival’s deliberate inclusivity.)\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otoboke Beaver, four women from Kyoto, are \u003ca href=\"https://youtu.be/GBBpLwGy6mY?si=khFfCdLoJ5rs4S07\">one of the most exciting live bands on the planet\u003c/a>, and the Dead Milkmen, four men from Pennsylvania, are one of the funniest \u003ca href=\"https://www.tiktok.com/@buhrigit/video/7591536803849489694\">Camaro-driving\u003c/a> bands to ever sing about \u003ca href=\"https://youtu.be/fEp0aKCsrig?si=Z2BMtG8hov8XQ2BD\">what the queers are doing to the soil\u003c/a>. Meanwhile, under the name “The Return of Jackie & Judy,” Carrie Brownstein and Corin Tucker team up with drummer and funnyman Fred Armisen for \u003ca href=\"https://www.youtube.com/shorts/2mQEdAI7cdc\">a set of Ramones covers\u003c/a>. And Scowl? The Dirtbombs? \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>? It’s nuts.\u003c/p>\n\u003cp>If there’s anything missing this year, it’s the festival’s welcome tradition of undersung ’80s rap hitmakers; in recent years, that’s meant sets by L’Trimm, Egyptian Lover and J.J. Fad. \u003ca href=\"https://www.youtube.com/watch?v=2m-jzUyUQg4\">Maybe next year we can have Oaktown’s 3.5.7\u003c/a>. In the meantime, though, this is a damn fine lineup. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>General admission tickets, on sale now, are $129 for Saturday and $89 for Sunday; a weekend pass is $179. VIP tickets for the fancypants cost more, and the tickets to Pavement on Friday night are sold separately.\u003c/p>\n\u003cp>[aside postID='arts_13978802']For tickets and more information, see the \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown site\u003c/a>, and peep the full lineup and poster by the great \u003ca href=\"https://www.instagram.com/janelleblarg/\">Janelle Blarg\u003c/a> below. \u003c/p>\n\u003cp>\u003cstrong>Friday, July 17 (“Pre-party”) \u003c/strong>\u003cbr>\nPavement\u003cbr>\nWednesday\u003cbr>\nVivian Girls \u003c/p>\n\u003cp>\u003cstrong>Saturday, July 18 \u003c/strong>\u003cbr>\nIggy Pop\u003cbr>\nOtoboke Beaver\u003cbr>\nScowl\u003cbr>\nThe Spits\u003cbr>\nThe Dirtbombs\u003cbr>\nThe Fadeaways\u003cbr>\nPrimitive Ring \u003c/p>\n\u003cp>\u003cstrong>Sunday, July 19\u003c/strong>\u003cbr>\nBikini Kill\u003cbr>\nThe Return of Jackie and Judy\u003cbr>\nThe Dead Milkmen\u003cbr>\nFrankie and the Witch Fingers\u003cbr>\nFrightwig\u003cbr>\nLas Nubes \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg\" alt=\"\" width=\"1579\" height=\"2000\" class=\"aligncenter size-full wp-image-13985443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg 1579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-1213x1536.jpg 1213w\" sizes=\"auto, (max-width: 1579px) 100vw, 1579px\">\u003c/p>\n\n",
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"excerpt": "Along with a Pavement ‘pre-party,’ this year's Mosswood Meltdown is the biggest and most impressive yet.",
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"title": "Mosswood Lineup: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland is here. Iggy Pop and Bikini Kill are headliners, along with a stacked schedule of openers that includes Otoboke Beaver, the Dead Milkmen, Corin Tucker and Carrie Brownstein of Sleater-Kinney with Fred Armisen, Scowl, Frightwig, the Dirtbombs and more.\u003c/p>\n\u003cp>Add the already announced \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">festival “pre-party” with Pavement\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">annual host John Waters\u003c/a>, and it’s safe to say: this is the biggest and most impressive Mosswood lineup yet.\u003c/p>\n\u003cp>Both Iggy Pop and Bikini Kill are returning to the annual trash-rock soirée in Mosswood Park. Perpetually shirtless \u003ca href=\"https://www.kqed.org/arts/13569504/burger-boogaloo-breakdown-lots-of-sun-and-hubbub-at-mosswood-park\">Iggy Pop played the park\u003c/a> in 2017, while \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill last appeared\u003c/a> in 2022. (Onstage, singer Kathleen Hanna, who also led a set by Le Tigre the following year, expressed special gratitude for the festival’s deliberate inclusivity.)\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otoboke Beaver, four women from Kyoto, are \u003ca href=\"https://youtu.be/GBBpLwGy6mY?si=khFfCdLoJ5rs4S07\">one of the most exciting live bands on the planet\u003c/a>, and the Dead Milkmen, four men from Pennsylvania, are one of the funniest \u003ca href=\"https://www.tiktok.com/@buhrigit/video/7591536803849489694\">Camaro-driving\u003c/a> bands to ever sing about \u003ca href=\"https://youtu.be/fEp0aKCsrig?si=Z2BMtG8hov8XQ2BD\">what the queers are doing to the soil\u003c/a>. Meanwhile, under the name “The Return of Jackie & Judy,” Carrie Brownstein and Corin Tucker team up with drummer and funnyman Fred Armisen for \u003ca href=\"https://www.youtube.com/shorts/2mQEdAI7cdc\">a set of Ramones covers\u003c/a>. And Scowl? The Dirtbombs? \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>? It’s nuts.\u003c/p>\n\u003cp>If there’s anything missing this year, it’s the festival’s welcome tradition of undersung ’80s rap hitmakers; in recent years, that’s meant sets by L’Trimm, Egyptian Lover and J.J. Fad. \u003ca href=\"https://www.youtube.com/watch?v=2m-jzUyUQg4\">Maybe next year we can have Oaktown’s 3.5.7\u003c/a>. In the meantime, though, this is a damn fine lineup. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>General admission tickets, on sale now, are $129 for Saturday and $89 for Sunday; a weekend pass is $179. VIP tickets for the fancypants cost more, and the tickets to Pavement on Friday night are sold separately.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For tickets and more information, see the \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown site\u003c/a>, and peep the full lineup and poster by the great \u003ca href=\"https://www.instagram.com/janelleblarg/\">Janelle Blarg\u003c/a> below. \u003c/p>\n\u003cp>\u003cstrong>Friday, July 17 (“Pre-party”) \u003c/strong>\u003cbr>\nPavement\u003cbr>\nWednesday\u003cbr>\nVivian Girls \u003c/p>\n\u003cp>\u003cstrong>Saturday, July 18 \u003c/strong>\u003cbr>\nIggy Pop\u003cbr>\nOtoboke Beaver\u003cbr>\nScowl\u003cbr>\nThe Spits\u003cbr>\nThe Dirtbombs\u003cbr>\nThe Fadeaways\u003cbr>\nPrimitive Ring \u003c/p>\n\u003cp>\u003cstrong>Sunday, July 19\u003c/strong>\u003cbr>\nBikini Kill\u003cbr>\nThe Return of Jackie and Judy\u003cbr>\nThe Dead Milkmen\u003cbr>\nFrankie and the Witch Fingers\u003cbr>\nFrightwig\u003cbr>\nLas Nubes \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg\" alt=\"\" width=\"1579\" height=\"2000\" class=\"aligncenter size-full wp-image-13985443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg 1579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-1213x1536.jpg 1213w\" sizes=\"auto, (max-width: 1579px) 100vw, 1579px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "28-years-later-bone-temple-movie-review-nia-dacosta-new-zombies",
"title": "‘28 Years Later: The Bone Temple’ Triumphantly Subverts the Classic Zombie Movie",
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"content": "\u003cp>You know what zombie movies never seem to have enough of? Dancing. They’ve got gore and screaming and lots of guttural snarling, but no boogie. That all changes with \u003cem>28 Years Later: The Bone Temple\u003c/em> and the dancing here is to — naturally off-kilter — 1980s heroes Duran Duran.\u003c/p>\n\u003cp>The fourth entry in an ever-more engrossing franchise is absolutely bonkers — and a triumph. It mixes dark, queasy disembowelment and laugh-out-loud humor in a way that both subverts the genre and leads a way out of it, too.\u003c/p>\n\u003cp>[aside postid='arts_13977694']Nia DaCosta directs from a returning Alex Garland script and it starts right where 2025’s \u003ca href=\"https://www.kqed.org/arts/13977694/28-years-later-movie-review-danny-boyle-rage-zombies-uk-horror\">\u003cem>28 Years Later\u003c/em>\u003c/a> — directed by Danny Boyle — left off. If this is your first encounter with the series, you don’t necessarily need to go back to 2002’s \u003cem>28 Days Later\u003c/em> but at least to last year’s entry.\u003c/p>\n\u003cp>Garland’s script crackles with jokes about Britain’s National Health Service and \u003cem>Teletubbies\u003c/em> as it sets up an ultimate showdown between good and evil across a flower-and-meadow countryside. DaCosta is fabulous, leaning into the dark and the light with assurance, nailing the twisted tone and celebrating the weirdness.\u003c/p>\n\u003cp>We pick up immediately after Alfie Williams’ Spike is rescued from a gang of zombies — excuse me, a gang of infected — by another gang of predators led by Sir Jimmy Crystal, whom we first met as an 8-year-old orphan in the last movie. He’s all grown up and become a sadistic satanist, which happens sometimes without good adulting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jimmy — played by a diabolical Jack O’Connell in a tracksuit and gold chains, like a low-level Mafia lieutenant from \u003cem>The Sopranos\u003c/em> — leads a band of young psychopaths, as deadly to both virus survivors as the snarling, semi-human infected. They don blond wigs and each is named Jimmy. There’s a whiff of \u003cem>A Clockwork Orange\u003c/em> about them — menacing, prone to ultraviolence, gleeful in destruction. “Does that sound like normal screaming, Jimmy?” one asks. Spike, bless his heart, doesn’t belong here.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EOwTdTZA8D8\u003c/p>\n\u003cp>Sir Jimmy’s opposite number is also out there, the scientist-doctor Dr. Ian Kelson, who hopes to find a cure for the virus. He’s a humanist, with a huge heart and open arms, even if he does construct tall pillars out of the bleached bones of the dead. That sounds bad, but he does it to memorialize them, an in memoriam segment made out of calcium.\u003c/p>\n\u003cp>Kelson is played by a returning \u003ca href=\"https://www.kqed.org/arts/13967200/conclave-movie-review-ralph-fiennes-edward-berger-catholic-church-pope\">Ralph Fiennes\u003c/a>, who is magnificent, totally committed, even going full Monty. There’s no winking in anything he does, just pure soul. People are people, no matter how damaged, he believes. “There’s just us,” he says. Bright orange due to the iodine he paints on his skin to ward off the virus, Kelson is alone in his bone temple, which, with a few tea lights, really pulls the look together.\u003c/p>\n\u003cp>[aside postid='arts_13985196']In perhaps a twist no one was expecting, Kelson gingerly reaches out to an infected Alpha — played by former MMA fighter Chi Lewis-Parry — who seems to enjoy being drugged by the doctor’s blowgun. It turns out they both like a hit or two of morphine and looking up at the sky, all blissed out. Or dancing.\u003c/p>\n\u003cp>That’s when Duran Duran comes in, supplying “Ordinary World,” “Girls on Film” and “Rio” to a sight rare in zombie movies: Two whacked-out guys — one an eye-bulging monster who rips heads off with the spines still attached, the other a skinny Englishman who starred in \u003cem>The English Patient\u003c/em> — swaying hand-in-hand to pop synth. (My money was on “Save a Prayer,” but it’s OK.)\u003c/p>\n\u003cp>There’s plenty of good music in \u003cem>28 Years Later: The Bone Temple\u003c/em>, including Radiohead’s “Everything in Its Right Place” and one of the most gloriously unhinged uses of Iron Maiden’s “The Number of the Beast” ever conceived. If the previous film had a Fellini-esque vibe, this one has punky, anarchic feel.\u003c/p>\n\u003cfigure id=\"attachment_13985410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png\" alt=\"A blond man wearing a black tracksuit stands, eyes closed, hands gesturing, in a strange spotlit circle. Behind him are four young people, also wearing tracksuits, and looking the worse for wear.\" width=\"2000\" height=\"1227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-768x471.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-1536x942.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jack O’Connell (center) in a scene from ‘28 Years Later: The Bone Temple.’ \u003ccite>(Columbia Pictures/Sony Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Who will emerge victorious on this blighted island? Sir Jimmy or Dr. Kelson? And have you noticed that the hallmark of every zombie movie — the constant running away from the snarling undead — has been quietly replaced by examinations of cults and mortality, the long-term effects of trauma and what it means to be human? Call it almost post-zombie.\u003c/p>\n\u003cp>There’s a fifth movie in this franchise in the works, with some clues that this nightmarish world may yet produce a happy ending. But they’re getting better and better and, as insane as it sounds, it’s going to be sad to see it go. Long may the zombies dance. Perhaps we should take advice from the great poets of our time, Duran Duran: “I will learn to survive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘28 Years Later: The Bone Temple’ is released nationwide on Jan. 16, 2026.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Turns out? Zombies plus Duran Duran equals supremely enjoyable horror.",
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"headline": "‘28 Years Later: The Bone Temple’ Triumphantly Subverts the Classic Zombie Movie",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know what zombie movies never seem to have enough of? Dancing. They’ve got gore and screaming and lots of guttural snarling, but no boogie. That all changes with \u003cem>28 Years Later: The Bone Temple\u003c/em> and the dancing here is to — naturally off-kilter — 1980s heroes Duran Duran.\u003c/p>\n\u003cp>The fourth entry in an ever-more engrossing franchise is absolutely bonkers — and a triumph. It mixes dark, queasy disembowelment and laugh-out-loud humor in a way that both subverts the genre and leads a way out of it, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nia DaCosta directs from a returning Alex Garland script and it starts right where 2025’s \u003ca href=\"https://www.kqed.org/arts/13977694/28-years-later-movie-review-danny-boyle-rage-zombies-uk-horror\">\u003cem>28 Years Later\u003c/em>\u003c/a> — directed by Danny Boyle — left off. If this is your first encounter with the series, you don’t necessarily need to go back to 2002’s \u003cem>28 Days Later\u003c/em> but at least to last year’s entry.\u003c/p>\n\u003cp>Garland’s script crackles with jokes about Britain’s National Health Service and \u003cem>Teletubbies\u003c/em> as it sets up an ultimate showdown between good and evil across a flower-and-meadow countryside. DaCosta is fabulous, leaning into the dark and the light with assurance, nailing the twisted tone and celebrating the weirdness.\u003c/p>\n\u003cp>We pick up immediately after Alfie Williams’ Spike is rescued from a gang of zombies — excuse me, a gang of infected — by another gang of predators led by Sir Jimmy Crystal, whom we first met as an 8-year-old orphan in the last movie. He’s all grown up and become a sadistic satanist, which happens sometimes without good adulting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jimmy — played by a diabolical Jack O’Connell in a tracksuit and gold chains, like a low-level Mafia lieutenant from \u003cem>The Sopranos\u003c/em> — leads a band of young psychopaths, as deadly to both virus survivors as the snarling, semi-human infected. They don blond wigs and each is named Jimmy. There’s a whiff of \u003cem>A Clockwork Orange\u003c/em> about them — menacing, prone to ultraviolence, gleeful in destruction. “Does that sound like normal screaming, Jimmy?” one asks. Spike, bless his heart, doesn’t belong here.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EOwTdTZA8D8'\n title='//www.youtube.com/embed/EOwTdTZA8D8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sir Jimmy’s opposite number is also out there, the scientist-doctor Dr. Ian Kelson, who hopes to find a cure for the virus. He’s a humanist, with a huge heart and open arms, even if he does construct tall pillars out of the bleached bones of the dead. That sounds bad, but he does it to memorialize them, an in memoriam segment made out of calcium.\u003c/p>\n\u003cp>Kelson is played by a returning \u003ca href=\"https://www.kqed.org/arts/13967200/conclave-movie-review-ralph-fiennes-edward-berger-catholic-church-pope\">Ralph Fiennes\u003c/a>, who is magnificent, totally committed, even going full Monty. There’s no winking in anything he does, just pure soul. People are people, no matter how damaged, he believes. “There’s just us,” he says. Bright orange due to the iodine he paints on his skin to ward off the virus, Kelson is alone in his bone temple, which, with a few tea lights, really pulls the look together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In perhaps a twist no one was expecting, Kelson gingerly reaches out to an infected Alpha — played by former MMA fighter Chi Lewis-Parry — who seems to enjoy being drugged by the doctor’s blowgun. It turns out they both like a hit or two of morphine and looking up at the sky, all blissed out. Or dancing.\u003c/p>\n\u003cp>That’s when Duran Duran comes in, supplying “Ordinary World,” “Girls on Film” and “Rio” to a sight rare in zombie movies: Two whacked-out guys — one an eye-bulging monster who rips heads off with the spines still attached, the other a skinny Englishman who starred in \u003cem>The English Patient\u003c/em> — swaying hand-in-hand to pop synth. (My money was on “Save a Prayer,” but it’s OK.)\u003c/p>\n\u003cp>There’s plenty of good music in \u003cem>28 Years Later: The Bone Temple\u003c/em>, including Radiohead’s “Everything in Its Right Place” and one of the most gloriously unhinged uses of Iron Maiden’s “The Number of the Beast” ever conceived. If the previous film had a Fellini-esque vibe, this one has punky, anarchic feel.\u003c/p>\n\u003cfigure id=\"attachment_13985410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png\" alt=\"A blond man wearing a black tracksuit stands, eyes closed, hands gesturing, in a strange spotlit circle. Behind him are four young people, also wearing tracksuits, and looking the worse for wear.\" width=\"2000\" height=\"1227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-768x471.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-1536x942.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jack O’Connell (center) in a scene from ‘28 Years Later: The Bone Temple.’ \u003ccite>(Columbia Pictures/Sony Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Who will emerge victorious on this blighted island? Sir Jimmy or Dr. Kelson? And have you noticed that the hallmark of every zombie movie — the constant running away from the snarling undead — has been quietly replaced by examinations of cults and mortality, the long-term effects of trauma and what it means to be human? Call it almost post-zombie.\u003c/p>\n\u003cp>There’s a fifth movie in this franchise in the works, with some clues that this nightmarish world may yet produce a happy ending. But they’re getting better and better and, as insane as it sounds, it’s going to be sad to see it go. Long may the zombies dance. Perhaps we should take advice from the great poets of our time, Duran Duran: “I will learn to survive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘28 Years Later: The Bone Temple’ is released nationwide on Jan. 16, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Warriors Celebrate Muslim Heritage With a Night of Indo-Texan Halal Barbecue",
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"content": "\u003cp>Fik and Reka Saleh are no stranger to long lines and sold-out events. \u003ca href=\"https://www.kqed.org/arts/13962220/fikscue-best-indonesian-texas-barbecue-smoked-brisket-alameda\">Fikscue\u003c/a>, the couple’s Indonesian-Texan halal barbecue spot in Alameda, has drawn around-the-block crowds since its debut in 2023. Meanwhile, the restaurant’s new location in so-called Thrive City, the promenade just outside \u003ca href=\"https://www.kqed.org/arts/tag/chase-center\">Chase Center\u003c/a>, has introduced the Salehs’ unique combination of Texas-style smoked meats and Indonesian side dishes to an even wider audience.\u003c/p>\n\u003cp>This Thursday night’s Warriors home game against the Knicks will mark another milestone: It’ll be the first time halal-keeping fans can chow down on Fikscue’s brisket sandwiches and sate ayam (grilled chicken skewers) inside the arena itself.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13962220']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>The occasion? The Warriors’ fifth annual Muslim Heritage Night, which the team hosts in collaboration with local food festival organizer \u003ca href=\"https://www.kqed.org/arts/13972704/suhoor-fest-ramadan-san-jose-halal-food-festival-2025\">HalalFest\u003c/a>. The event brings the Bay Area Muslim community together for a night of halal food (normally not available inside Chase Center) and much-needed celebration — especially during this time of \u003ca href=\"https://www.kqed.org/forum/2010101895300/hate-crimes-against-muslims-and-jews-on-the-rise\">rising\u003c/a> \u003ca href=\"https://www.kqed.org/news/11991016/islamic-prayer-at-san-francisco-park-interrupted-by-hateful-verbal-attack\">Islamophobia\u003c/a>, ICE crackdowns and targeted \u003ca href=\"https://www.cnn.com/2025/12/16/politics/travel-ban-trump-expands-countries\">travel bans\u003c/a>.\u003c/p>\n\u003cp>HalalFest founder Irfan Rydhan expects this year’s edition to be the largest one yet: 700 fans have already bought tickets, including 250 who purchased boxed barbecue meals from Fikscue. While the deadline has passed for pre-ordering the Fikscue meals, a handful of promotional tickets for the game are still available, ranging from $120 to $275 — the latter for seats in the \u003ca href=\"https://www.chasecenter.com/vendor/modelo-cantina/\">Modelo Cantina\u003c/a>, whose buffet spread that night will feature all halal meats and seafood. The Chase Center will also provide a designated room where Muslim fans can pray during the game.\u003c/p>\n\u003cfigure id=\"attachment_13985378\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/warriors2025-4372.jpg\" alt=\"Warriors' fans hold up a "Muslim Heritage Night" T-shirt.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/warriors2025-4372.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/warriors2025-4372-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/warriors2025-4372-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/warriors2025-4372-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans at the 2025 edition of Muslim Heritage Night show off a commemorative T-shirt. \u003ccite>(Meriam Salem, via HalalFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The promotion brings halal-keeping Warriors’ fans one step closer to their longer-term goal: having a permanent halal food vendor inside the venue Even though Fikscue’s Thrive City shop is located just a few steps away from Chase Center, purchases there still count as “outside food” and can’t be brought inside the arena. It’s a question the restaurant’s Thrive City team has had to answer “many, many times,” Reka Saleh says with bemusement — so it’s clear the demand is there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Fik and Reka, participating in this year’s Muslim Heritage feels like the logical next step for Fikscue, which has mushroomed since its days as a scrappy pop-up. The restaurant went from being open just a few hours on weekends only at its Alameda location to adding Wednesday night dinner service and, since last June, the operation in San Francisco — featuring a \u003ca href=\"https://www.instagram.com/p/DGoQ4r6zRj5/?hl=en\">gorgeous new pit room\u003c/a> that faces the Bay.\u003c/p>\n\u003cp>But this year, Reka says, they’re looking forward to participating in more events like Muslim Heritage Night. “It means a lot,” she says, “because that was the whole purpose of us being 100% halal, right? It was to be able to connect to the broader community.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To purchase Muslim Heritage Night promotional tickets to the Jan. 15 Warriors game against the Knicks, email info@halalfest.com. Prices range from $120 to $275 per ticket. The deadline to order the tickets is 3 p.m. on Jan. 15.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>The occasion? The Warriors’ fifth annual Muslim Heritage Night, which the team hosts in collaboration with local food festival organizer \u003ca href=\"https://www.kqed.org/arts/13972704/suhoor-fest-ramadan-san-jose-halal-food-festival-2025\">HalalFest\u003c/a>. The event brings the Bay Area Muslim community together for a night of halal food (normally not available inside Chase Center) and much-needed celebration — especially during this time of \u003ca href=\"https://www.kqed.org/forum/2010101895300/hate-crimes-against-muslims-and-jews-on-the-rise\">rising\u003c/a> \u003ca href=\"https://www.kqed.org/news/11991016/islamic-prayer-at-san-francisco-park-interrupted-by-hateful-verbal-attack\">Islamophobia\u003c/a>, ICE crackdowns and targeted \u003ca href=\"https://www.cnn.com/2025/12/16/politics/travel-ban-trump-expands-countries\">travel bans\u003c/a>.\u003c/p>\n\u003cp>HalalFest founder Irfan Rydhan expects this year’s edition to be the largest one yet: 700 fans have already bought tickets, including 250 who purchased boxed barbecue meals from Fikscue. While the deadline has passed for pre-ordering the Fikscue meals, a handful of promotional tickets for the game are still available, ranging from $120 to $275 — the latter for seats in the \u003ca href=\"https://www.chasecenter.com/vendor/modelo-cantina/\">Modelo Cantina\u003c/a>, whose buffet spread that night will feature all halal meats and seafood. The Chase Center will also provide a designated room where Muslim fans can pray during the game.\u003c/p>\n\u003cfigure id=\"attachment_13985378\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/warriors2025-4372.jpg\" alt=\"Warriors' fans hold up a "Muslim Heritage Night" T-shirt.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/warriors2025-4372.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/warriors2025-4372-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/warriors2025-4372-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/warriors2025-4372-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans at the 2025 edition of Muslim Heritage Night show off a commemorative T-shirt. \u003ccite>(Meriam Salem, via HalalFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The promotion brings halal-keeping Warriors’ fans one step closer to their longer-term goal: having a permanent halal food vendor inside the venue Even though Fikscue’s Thrive City shop is located just a few steps away from Chase Center, purchases there still count as “outside food” and can’t be brought inside the arena. It’s a question the restaurant’s Thrive City team has had to answer “many, many times,” Reka Saleh says with bemusement — so it’s clear the demand is there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Fik and Reka, participating in this year’s Muslim Heritage feels like the logical next step for Fikscue, which has mushroomed since its days as a scrappy pop-up. The restaurant went from being open just a few hours on weekends only at its Alameda location to adding Wednesday night dinner service and, since last June, the operation in San Francisco — featuring a \u003ca href=\"https://www.instagram.com/p/DGoQ4r6zRj5/?hl=en\">gorgeous new pit room\u003c/a> that faces the Bay.\u003c/p>\n\u003cp>But this year, Reka says, they’re looking forward to participating in more events like Muslim Heritage Night. “It means a lot,” she says, “because that was the whole purpose of us being 100% halal, right? It was to be able to connect to the broader community.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To purchase Muslim Heritage Night promotional tickets to the Jan. 15 Warriors game against the Knicks, email info@halalfest.com. Prices range from $120 to $275 per ticket. The deadline to order the tickets is 3 p.m. on Jan. 15.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "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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