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https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1020x1364.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1149x1536.jpg 1149w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, seen here surrounded by her designs. The artist and pioneer of supergraphics died at her home Tuesday night at age 95. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barbara Stauffacher Solomon, a giant in the worlds of landscape architecture and graphic design who spearheaded the colorful supergraphics movement of the 1960s and ’70s, died last night at her home in San Francisco. She was 95.\u003c/p>\n\u003cp>According to her daughter, the Los Angeles-based artist Nellie King Solomon, Stauffacher Solomon had been in hospice care for some time, and had reached the point where she was no longer able to eat, drink or talk. “Her body expired,” Solomon said. “She had a huge life! There’s no tragedy.”\u003c/p>\n\u003cp>In spite of her declining health, Stauffacher Solomon was a prolific artist up until the very end. Recent projects include a series of drawings displayed on the walls above a \u003ca href=\"https://staircase.place/\">red-painted staircase\u003c/a> in the Inner Richmond, a \u003ca href=\"https://www.vonbartha.com/events/welcome-sign-st-moritz/\">95-foot-long “WELCOME” sign\u003c/a> installed on the retaining wall outside the train station in Moritz, Switzerland, and a large-scale, stripe-themed installation that currently occupies the entire \u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">second-floor lobby of SFMOMA\u003c/a>. \u003c/p>\n\u003cp>“She died with Liquid Paper on her hands,” Solomon said. “She wrestled it with the nurses.”\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Grunder, a San Francisco artist who worked as Stauffacher Solomon’s studio assistant and informal caregiver for much of the past few years, said that he was inspired by her ability to overcome adversity — “reinventing herself five times over in 70-plus years,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After her first husband, the filmmaker Frank Stauffacher, died, Stauffacher Solomon moved to Basel, Switzerland, to study graphic design and learn skills that she could use to support herself and her young child. She returned to San Francisco in the early ’60s to open her own graphic design firm. \u003c/p>\n\u003cfigure id=\"attachment_13839100\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg\" alt=\"Barbara Stauffacher Solomon in 1955.\" width=\"640\" height=\"865\" class=\"size-full wp-image-13839100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-375x507.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-520x703.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon in 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, Stauffacher Solomon took on the design project that she will likely be remembered most for, at an experimental housing development known as \u003ca href=\"https://www.tsra.org/\">Sea Ranch\u003c/a> on the Sonoma coast. She designed the ram’s horn–inspired logo, as well as the bold, large-scale graphic elements that are painted inside several buildings at Sea Ranch, including, most famously, its \u003ca href=\"https://searanch.ced.berkeley.edu/s/sea-ranch/page/moonraker\">athletic center\u003c/a>. The new style of graphics and environmental architecture that she created came to be known as supergraphics — a design movement that blended “the rigor of Swiss modernism with the color and style of [Stauffacher Solomon’s] West Coast sensibility,” as KQED’s Sarah Hotchkiss described it in a \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">2018 profile of the artist\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957527\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13957527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The rams horns at the Sea Ranch Lodge as designed by artist Barbara Stauffacher Solomon. \u003ccite>(Myung J. Chun / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Solomon asserted that the “hard-edged” supergraphics are only one part of her mother’s artistic legacy. “There was this whole schmaltzy side to her,” she said. She loved 1930s French music; she loved gardens and meadows; she spent years working primarily as a landscape architect. Some of Solomon’s favorite memories with her mother were of “breaking and entering” into historical gardens — experiences that she documented in her 1989 book, \u003cem>Green Architecture & the Agrarian Garden\u003c/em>.\u003c/p>\n\u003cp>In more recent years, Stauffacher Solomon revisited the supergraphics style that she helped popularize, perhaps most notably for her recent SFMOMA atrium project. Joseph Becker, SFMOMA’s Associate Curator of Architecture and Design, said he had been collaborating with Stauffacher Solomon for years, describing her as “an incredible sparring partner and visionary who suffered no fools.” \u003c/p>\n\u003cfigure id=\"attachment_13957524\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13957524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie and granddaughter Fia. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She overcame tremendous adversity in the early part of her career, developing her own graphic design practice in a world not hospitable to women setting out on their own and making a name for themselves,” Becker said. “One of the reasons was because she had an exacting vision and attitude. To work with someone like that, even though she was 95, her clarity was undeniable. She knew exactly what she wanted, saw all sides of the project.”\u003c/p>\n\u003cp>The museum currently has new Stauffacher Solomon work that it’s partnering with the City of San Francisco to present: a massive, 300-foot-long \u003ca href=\"https://www.sfartscommission.org/content/minna-natoma-art-corridor-project-street-paving\">street paving project on Minna Street\u003c/a> featuring a graphic pattern made of red boots as an homage to Minna Rae Simpson, the street’s supposed namesake.\u003c/p>\n\u003cp>“What an absolute San Francisco treasure,” Becker said of Stauffacher Solomon. “Hands down, one of the best.”\u003c/p>\n\u003cfigure id=\"attachment_13957523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg\" alt=\"\" width=\"1920\" height=\"1443\" class=\"size-full wp-image-13957523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, going through some of her many files. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder, who met Stauffacher Solomon in 2019, said he “clicked [with her] in a way I never clicked with any friend ever.” Working closely with her as her “accomplice” these past few years, he says what he learned most from her is that you “can have an absolutely wonderful life without trying to please everybody.”\u003c/p>\n\u003cp>“Truthfully, she was incredibly prickly to a lot of people, and incredibly sweet and devoted to others,” Grunder said.\u003c/p>\n\u003cp>In recent years, he said, what Stauffacher Solomon seemed proudest of were her books — many of them an eccentric mix of drawings, abstractions and some rhyming text. The one she’d just completed, \u003cem>See the Invisible\u003c/em>, due to be released by \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> later this year, focuses on a theme Grunder says Stauffacher Solomon was obsessed with: making things that are visible invisible — with how design can be almost entirely invisible.\u003c/p>\n\u003cfigure id=\"attachment_13839103\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg\" alt=\"Installation view of Barbara Stauffacher Solomon's 'Land(e)scape 2018' at BAMPFA.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13839103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Barbara Stauffacher Solomon’s ‘Land(e)scape 2018’ at BAMPFA. \u003ccite>(Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder recalls a time when Stauffacher Solomon referred, offhandedly, to her signs on Market Street in San Francisco. “Maybe you’re confused,” Grunder remembers saying to her. When did she ever get commissioned to do an installation on Market Street? So, she sent him down to Market and 3rd and had him look: “There, there,” she told him.\u003c/p>\n\u003cp>As it turns out, Stauffacher Solomon had designed the \u003cem>\u003ca href=\"https://www.google.com/maps/@37.7879043,-122.4033387,3a,75y,204.09h,101.03t/data=!3m7!1e1!3m5!1shUg8nuEWC6jtk-GaO4ZOgA!2e0!6shttps:%2F%2Fstreetviewpixels-pa.googleapis.com%2Fv1%2Fthumbnail%3Fpanoid%3DhUg8nuEWC6jtk-GaO4ZOgA%26cb_client%3Dmaps_sv.share%26w%3D900%26h%3D600%26yaw%3D204.08666956826983%26pitch%3D-11.025780054833689%26thumbfov%3D90!7i16384!8i8192?coh=205410&entry=ttu\">actual street signs\u003c/a>\u003c/em>. “Ta-da,” she said, when he finally made the connection.\u003c/p>\n\u003cp>As SFMOMA’s Becker put it, “We’re surrounded by works by Bobbie even if we’re not aware of it,” using the name used by Stauffacher Solomon’s friends.\u003c/p>\n\u003cfigure id=\"attachment_13957525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13957525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie, granddaughter Fia, and a display of her work. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having spent much of the past decade fielding questions about legacy, Stauffacher Solomon was delighted to surprise one such inquisitor by saying she’d like to be remembered “for being a good mommy.” According to Solomon, her mother really did view herself as a mother and a grandmother first, even before her career, as someone who made the conscious choice to “build the next generation and have the best work of your life.” \u003c/p>\n\u003cp>“Because the art world and the design world are primarily a man’s world, they want you to choose between the two. I think that’s antiquated and ridiculous,” Solomon said. In that way, she believes that she and her own 16-year-old daughter, Fia — a budding singer-songwriter in her own right — are tasked with carrying on Stauffacher Solomon’s true legacy.\u003c/p>\n\u003cp>On Sunday, May 12, at 3 p.m., the family will hold a public memorial for Stauffacher Solomon at \u003ca href=\"https://presidio.gov/explore/attractions/crissy-field-east-beach\">Crissy Field East Beach\u003c/a>, in front of the changing rooms. “That was where she used to walk her dog Jake,” Solomon said. “The beach is where she hung out.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She hopes friends, colleagues and other well-wishers who knew her mother will come ready with stories to share to give her a proper send-off.\u003c/p>\n\n","blocks":[],"excerpt":"The San Francisco-born designer and landscape architect was known for her colorful, oversized work.","status":"publish","parent":0,"modified":1715220846,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1357},"headData":{"title":"Artist Barbara Stauffacher Solomon Dies at 95 | KQED","description":"The San Francisco-born designer and landscape architect was known for her colorful, oversized work.","ogTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","ogDescription":"","ogImgId":"","twTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","twDescription":"","twImgId":"","socialTitle":"Artist Barbara Stauffacher Solomon Dies at 95 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","datePublished":"2024-05-09T02:12:18.000Z","dateModified":"2024-05-09T02:14:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957530","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957526\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg\" alt=\"\" width=\"1436\" height=\"1920\" class=\"size-full wp-image-13957526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1020x1364.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1149x1536.jpg 1149w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, seen here surrounded by her designs. The artist and pioneer of supergraphics died at her home Tuesday night at age 95. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barbara Stauffacher Solomon, a giant in the worlds of landscape architecture and graphic design who spearheaded the colorful supergraphics movement of the 1960s and ’70s, died last night at her home in San Francisco. She was 95.\u003c/p>\n\u003cp>According to her daughter, the Los Angeles-based artist Nellie King Solomon, Stauffacher Solomon had been in hospice care for some time, and had reached the point where she was no longer able to eat, drink or talk. “Her body expired,” Solomon said. “She had a huge life! There’s no tragedy.”\u003c/p>\n\u003cp>In spite of her declining health, Stauffacher Solomon was a prolific artist up until the very end. Recent projects include a series of drawings displayed on the walls above a \u003ca href=\"https://staircase.place/\">red-painted staircase\u003c/a> in the Inner Richmond, a \u003ca href=\"https://www.vonbartha.com/events/welcome-sign-st-moritz/\">95-foot-long “WELCOME” sign\u003c/a> installed on the retaining wall outside the train station in Moritz, Switzerland, and a large-scale, stripe-themed installation that currently occupies the entire \u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">second-floor lobby of SFMOMA\u003c/a>. \u003c/p>\n\u003cp>“She died with Liquid Paper on her hands,” Solomon said. “She wrestled it with the nurses.”\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Grunder, a San Francisco artist who worked as Stauffacher Solomon’s studio assistant and informal caregiver for much of the past few years, said that he was inspired by her ability to overcome adversity — “reinventing herself five times over in 70-plus years,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After her first husband, the filmmaker Frank Stauffacher, died, Stauffacher Solomon moved to Basel, Switzerland, to study graphic design and learn skills that she could use to support herself and her young child. She returned to San Francisco in the early ’60s to open her own graphic design firm. \u003c/p>\n\u003cfigure id=\"attachment_13839100\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg\" alt=\"Barbara Stauffacher Solomon in 1955.\" width=\"640\" height=\"865\" class=\"size-full wp-image-13839100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-375x507.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-520x703.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon in 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, Stauffacher Solomon took on the design project that she will likely be remembered most for, at an experimental housing development known as \u003ca href=\"https://www.tsra.org/\">Sea Ranch\u003c/a> on the Sonoma coast. She designed the ram’s horn–inspired logo, as well as the bold, large-scale graphic elements that are painted inside several buildings at Sea Ranch, including, most famously, its \u003ca href=\"https://searanch.ced.berkeley.edu/s/sea-ranch/page/moonraker\">athletic center\u003c/a>. The new style of graphics and environmental architecture that she created came to be known as supergraphics — a design movement that blended “the rigor of Swiss modernism with the color and style of [Stauffacher Solomon’s] West Coast sensibility,” as KQED’s Sarah Hotchkiss described it in a \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">2018 profile of the artist\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957527\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13957527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The rams horns at the Sea Ranch Lodge as designed by artist Barbara Stauffacher Solomon. \u003ccite>(Myung J. Chun / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Solomon asserted that the “hard-edged” supergraphics are only one part of her mother’s artistic legacy. “There was this whole schmaltzy side to her,” she said. She loved 1930s French music; she loved gardens and meadows; she spent years working primarily as a landscape architect. Some of Solomon’s favorite memories with her mother were of “breaking and entering” into historical gardens — experiences that she documented in her 1989 book, \u003cem>Green Architecture & the Agrarian Garden\u003c/em>.\u003c/p>\n\u003cp>In more recent years, Stauffacher Solomon revisited the supergraphics style that she helped popularize, perhaps most notably for her recent SFMOMA atrium project. Joseph Becker, SFMOMA’s Associate Curator of Architecture and Design, said he had been collaborating with Stauffacher Solomon for years, describing her as “an incredible sparring partner and visionary who suffered no fools.” \u003c/p>\n\u003cfigure id=\"attachment_13957524\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13957524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie and granddaughter Fia. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She overcame tremendous adversity in the early part of her career, developing her own graphic design practice in a world not hospitable to women setting out on their own and making a name for themselves,” Becker said. “One of the reasons was because she had an exacting vision and attitude. To work with someone like that, even though she was 95, her clarity was undeniable. She knew exactly what she wanted, saw all sides of the project.”\u003c/p>\n\u003cp>The museum currently has new Stauffacher Solomon work that it’s partnering with the City of San Francisco to present: a massive, 300-foot-long \u003ca href=\"https://www.sfartscommission.org/content/minna-natoma-art-corridor-project-street-paving\">street paving project on Minna Street\u003c/a> featuring a graphic pattern made of red boots as an homage to Minna Rae Simpson, the street’s supposed namesake.\u003c/p>\n\u003cp>“What an absolute San Francisco treasure,” Becker said of Stauffacher Solomon. “Hands down, one of the best.”\u003c/p>\n\u003cfigure id=\"attachment_13957523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg\" alt=\"\" width=\"1920\" height=\"1443\" class=\"size-full wp-image-13957523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, going through some of her many files. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder, who met Stauffacher Solomon in 2019, said he “clicked [with her] in a way I never clicked with any friend ever.” Working closely with her as her “accomplice” these past few years, he says what he learned most from her is that you “can have an absolutely wonderful life without trying to please everybody.”\u003c/p>\n\u003cp>“Truthfully, she was incredibly prickly to a lot of people, and incredibly sweet and devoted to others,” Grunder said.\u003c/p>\n\u003cp>In recent years, he said, what Stauffacher Solomon seemed proudest of were her books — many of them an eccentric mix of drawings, abstractions and some rhyming text. The one she’d just completed, \u003cem>See the Invisible\u003c/em>, due to be released by \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> later this year, focuses on a theme Grunder says Stauffacher Solomon was obsessed with: making things that are visible invisible — with how design can be almost entirely invisible.\u003c/p>\n\u003cfigure id=\"attachment_13839103\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg\" alt=\"Installation view of Barbara Stauffacher Solomon's 'Land(e)scape 2018' at BAMPFA.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13839103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Barbara Stauffacher Solomon’s ‘Land(e)scape 2018’ at BAMPFA. \u003ccite>(Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder recalls a time when Stauffacher Solomon referred, offhandedly, to her signs on Market Street in San Francisco. “Maybe you’re confused,” Grunder remembers saying to her. When did she ever get commissioned to do an installation on Market Street? So, she sent him down to Market and 3rd and had him look: “There, there,” she told him.\u003c/p>\n\u003cp>As it turns out, Stauffacher Solomon had designed the \u003cem>\u003ca href=\"https://www.google.com/maps/@37.7879043,-122.4033387,3a,75y,204.09h,101.03t/data=!3m7!1e1!3m5!1shUg8nuEWC6jtk-GaO4ZOgA!2e0!6shttps:%2F%2Fstreetviewpixels-pa.googleapis.com%2Fv1%2Fthumbnail%3Fpanoid%3DhUg8nuEWC6jtk-GaO4ZOgA%26cb_client%3Dmaps_sv.share%26w%3D900%26h%3D600%26yaw%3D204.08666956826983%26pitch%3D-11.025780054833689%26thumbfov%3D90!7i16384!8i8192?coh=205410&entry=ttu\">actual street signs\u003c/a>\u003c/em>. “Ta-da,” she said, when he finally made the connection.\u003c/p>\n\u003cp>As SFMOMA’s Becker put it, “We’re surrounded by works by Bobbie even if we’re not aware of it,” using the name used by Stauffacher Solomon’s friends.\u003c/p>\n\u003cfigure id=\"attachment_13957525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13957525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie, granddaughter Fia, and a display of her work. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having spent much of the past decade fielding questions about legacy, Stauffacher Solomon was delighted to surprise one such inquisitor by saying she’d like to be remembered “for being a good mommy.” According to Solomon, her mother really did view herself as a mother and a grandmother first, even before her career, as someone who made the conscious choice to “build the next generation and have the best work of your life.” \u003c/p>\n\u003cp>“Because the art world and the design world are primarily a man’s world, they want you to choose between the two. I think that’s antiquated and ridiculous,” Solomon said. In that way, she believes that she and her own 16-year-old daughter, Fia — a budding singer-songwriter in her own right — are tasked with carrying on Stauffacher Solomon’s true legacy.\u003c/p>\n\u003cp>On Sunday, May 12, at 3 p.m., the family will hold a public memorial for Stauffacher Solomon at \u003ca href=\"https://presidio.gov/explore/attractions/crissy-field-east-beach\">Crissy Field East Beach\u003c/a>, in front of the changing rooms. “That was where she used to walk her dog Jake,” Solomon said. “The beach is where she hung out.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She hopes friends, colleagues and other well-wishers who knew her mother will come ready with stories to share to give her a proper send-off.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary","authors":["11743"],"categories":["arts_1","arts_235","arts_1564","arts_70"],"tags":["arts_10278","arts_1091","arts_21789","arts_1146","arts_1381"],"featImg":"arts_13957522","label":"arts"},"arts_13957645":{"type":"posts","id":"arts_13957645","meta":{"index":"posts_1591205157","site":"arts","id":"13957645","found":true},"guestAuthors":[],"slug":"100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco","title":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco","publishDate":1715374658,"format":"aside","headTitle":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13957614\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png\" alt=\"A computer rendering of a 17-story building, on a street with people and cars.\" width=\"2160\" height=\"2160\" class=\"size-full wp-image-13957614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1920x1920.png 1920w\" sizes=\"(max-width: 2160px) 100vw, 2160px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the proposed artist housing at 1687 Market Street, planned with 100 affordable artist units, studio and rehearsal spaces, a community center and a black box theater. \u003ccite>(Mark Cavagnero Associates Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new San Francisco development that would provide affordable housing and studio space for artists took its first step toward completion Friday.\u003c/p>\n\u003cp>Buoyed by a $100 million gift from an anonymous donor, two nonprofits, \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/880678308\">Artists Hub on Market\u003c/a> and \u003ca href=\"https://www.mercyhousing.org/california/\">Mercy Housing of California\u003c/a>, filed plans with the city for 1687 Market St., the current site of the McRoskey Mattress Co. showroom.\u003c/p>\n\u003cp>The plans call for a 17-story building with 100 affordable apartments for artists, as well as studio space, practice rooms, a community center and a 99-seat black box theater. Though the construction price is not finalized, the gift was “based around the initial estimate” for such a project, according to \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline\u003c/a>, the president of Artists Hub on Market.\u003c/p>\n\u003cp>[aside postID='news_11973656']Kline said the project was inspired by the ongoing exodus of artists priced out of San Francisco as rents have skyrocketed and spaces closed. \u003c/p>\n\u003cp>“When I came to San Francisco almost 50 years ago, I was an aspiring artist, and I could live quite cheaply here,” he said. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think everyone’s in agreement that this would be a really great thing for the benefit of artists and the cultural life of San Francisco,” said Kline, who as founder and former director of SFJAZZ shepherded construction of the $64 million SFJAZZ Center, which opened in 2013 at Franklin and Fell Streets, six blocks from the proposed housing.\u003c/p>\n\u003cfigure id=\"attachment_13928729\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SFJAZZ founder Randall Kline accepts the Lifetime Achievement Award at the organization’s annual gala in San Francisco on May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Kline, both Mayor London Breed and San Francisco’s planning department have so far been enthusiastic about the project, known simply as 1687 Market. The project would be fast-tracked by \u003ca href=\"https://www.kqed.org/news/11923146/these-california-affordable-housing-bills-could-create-more-than-a-million-apartments-if-labor-unions-can-agree-on-terms\">Assembly Bill 2011\u003c/a>, approved in 2022, which encourages affordable housing on commercially zoned land.\u003c/p>\n\u003cp>The hope is to begin construction in late 2025, with completion sometime in 2027. Overseeing the project is San Francisco architect \u003ca href=\"https://www.cavagnero.com/\">Mark Cavagnero\u003c/a>, whose projects include the SFJAZZ Center as well as the nearby San Francisco Conservatory of Music. \u003c/p>\n\u003cp>[aside postID='arts_13910898']It is “far too soon” to provide an estimated monthly rent for space at 1687 Market, Kline said. Applications for artist housing in San Francisco are typically subject to a lottery, though \u003ca href=\"https://www.kqed.org/arts/13828581/san-francisco-looks-to-create-low-cost-housing-preference-for-artists\">that process has at times been onerous\u003c/a>. \u003c/p>\n\u003cp>As an inspiration for 1867 Market, Kline cited New York City’s Manhattan Plaza, an artist building that has been home to many jazz musicians, as well as singer Alicia Keys, writer Tennessee Williams, actor Timothée Chalamet and others.\u003c/p>\n\u003cp>“There’s a building older than that, also, called Westbeth,” Kline said, referring to the downtown New York building that has housed jazz guitarist John Scofield, visual artist Nam June Paik, choreographer Merce Cunningham and actor Robert de Niro.\u003c/p>\n\u003cfigure id=\"attachment_13957654\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg\" alt=\"\" width=\"1920\" height=\"1304\" class=\"size-full wp-image-13957654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1536x1043.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robin McRoskey Azevedo, pictured in 2010 at the McRoskey Mattress Co. on Market Street in San Francisco. The building site is planned for new artist housing. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The existing \u003ca href=\"https://www.mcroskey.com/heritage\">McRoskey Mattress Co.\u003c/a> building would be demolished to make way for the new housing. Building owner Robin McRoskey Azevedo sold the mattress company, which was founded in 1899, to Fresno-based Pleasant Mattress in 2018. In its factory loft, the building has hosted events with the San Francisco Silent Film Festival, for which Azevedo is a board member. \u003c/p>\n\u003cp>The project is coming about thanks to a combination of AB 2011, support from the city and a central location, Kline said, as well as \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">his decision last year to step down from SFJAZZ\u003c/a>. The anonymous donor, meanwhile, was crucial. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, what a gift to the city,” Kline said. “This is really a person who doesn’t care about notoriety, but does care about the artistic and cultural life of the city.”\u003c/p>\n\n","blocks":[],"excerpt":"Plans for the 100-unit building on Market Street were filed with the city on Friday.","status":"publish","parent":0,"modified":1715374658,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":688},"headData":{"title":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco | KQED","description":"Plans for the 100-unit building on Market Street were filed with the city on Friday.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"$100 Million Gift Paves Way for Affordable Artist Housing in San Francisco","datePublished":"2024-05-10T20:57:38.000Z","dateModified":"2024-05-10T20:57:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957645","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957614\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png\" alt=\"A computer rendering of a 17-story building, on a street with people and cars.\" width=\"2160\" height=\"2160\" class=\"size-full wp-image-13957614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street.png 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1920x1920.png 1920w\" sizes=\"(max-width: 2160px) 100vw, 2160px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the proposed artist housing at 1687 Market Street, planned with 100 affordable artist units, studio and rehearsal spaces, a community center and a black box theater. \u003ccite>(Mark Cavagnero Associates Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new San Francisco development that would provide affordable housing and studio space for artists took its first step toward completion Friday.\u003c/p>\n\u003cp>Buoyed by a $100 million gift from an anonymous donor, two nonprofits, \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/880678308\">Artists Hub on Market\u003c/a> and \u003ca href=\"https://www.mercyhousing.org/california/\">Mercy Housing of California\u003c/a>, filed plans with the city for 1687 Market St., the current site of the McRoskey Mattress Co. showroom.\u003c/p>\n\u003cp>The plans call for a 17-story building with 100 affordable apartments for artists, as well as studio space, practice rooms, a community center and a 99-seat black box theater. Though the construction price is not finalized, the gift was “based around the initial estimate” for such a project, according to \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline\u003c/a>, the president of Artists Hub on Market.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11973656","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Kline said the project was inspired by the ongoing exodus of artists priced out of San Francisco as rents have skyrocketed and spaces closed. \u003c/p>\n\u003cp>“When I came to San Francisco almost 50 years ago, I was an aspiring artist, and I could live quite cheaply here,” he said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think everyone’s in agreement that this would be a really great thing for the benefit of artists and the cultural life of San Francisco,” said Kline, who as founder and former director of SFJAZZ shepherded construction of the $64 million SFJAZZ Center, which opened in 2013 at Franklin and Fell Streets, six blocks from the proposed housing.\u003c/p>\n\u003cfigure id=\"attachment_13928729\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SFJAZZ founder Randall Kline accepts the Lifetime Achievement Award at the organization’s annual gala in San Francisco on May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Kline, both Mayor London Breed and San Francisco’s planning department have so far been enthusiastic about the project, known simply as 1687 Market. The project would be fast-tracked by \u003ca href=\"https://www.kqed.org/news/11923146/these-california-affordable-housing-bills-could-create-more-than-a-million-apartments-if-labor-unions-can-agree-on-terms\">Assembly Bill 2011\u003c/a>, approved in 2022, which encourages affordable housing on commercially zoned land.\u003c/p>\n\u003cp>The hope is to begin construction in late 2025, with completion sometime in 2027. Overseeing the project is San Francisco architect \u003ca href=\"https://www.cavagnero.com/\">Mark Cavagnero\u003c/a>, whose projects include the SFJAZZ Center as well as the nearby San Francisco Conservatory of Music. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13910898","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It is “far too soon” to provide an estimated monthly rent for space at 1687 Market, Kline said. Applications for artist housing in San Francisco are typically subject to a lottery, though \u003ca href=\"https://www.kqed.org/arts/13828581/san-francisco-looks-to-create-low-cost-housing-preference-for-artists\">that process has at times been onerous\u003c/a>. \u003c/p>\n\u003cp>As an inspiration for 1867 Market, Kline cited New York City’s Manhattan Plaza, an artist building that has been home to many jazz musicians, as well as singer Alicia Keys, writer Tennessee Williams, actor Timothée Chalamet and others.\u003c/p>\n\u003cp>“There’s a building older than that, also, called Westbeth,” Kline said, referring to the downtown New York building that has housed jazz guitarist John Scofield, visual artist Nam June Paik, choreographer Merce Cunningham and actor Robert de Niro.\u003c/p>\n\u003cfigure id=\"attachment_13957654\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg\" alt=\"\" width=\"1920\" height=\"1304\" class=\"size-full wp-image-13957654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321602984-1536x1043.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robin McRoskey Azevedo, pictured in 2010 at the McRoskey Mattress Co. on Market Street in San Francisco. The building site is planned for new artist housing. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The existing \u003ca href=\"https://www.mcroskey.com/heritage\">McRoskey Mattress Co.\u003c/a> building would be demolished to make way for the new housing. Building owner Robin McRoskey Azevedo sold the mattress company, which was founded in 1899, to Fresno-based Pleasant Mattress in 2018. In its factory loft, the building has hosted events with the San Francisco Silent Film Festival, for which Azevedo is a board member. \u003c/p>\n\u003cp>The project is coming about thanks to a combination of AB 2011, support from the city and a central location, Kline said, as well as \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">his decision last year to step down from SFJAZZ\u003c/a>. The anonymous donor, meanwhile, was crucial. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, what a gift to the city,” Kline said. “This is really a person who doesn’t care about notoriety, but does care about the artistic and cultural life of the city.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco","authors":["185"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_4544","arts_163","arts_2216","arts_2048"],"featImg":"arts_13957653","label":"arts"},"arts_13957514":{"type":"posts","id":"arts_13957514","meta":{"index":"posts_1591205157","site":"arts","id":"13957514","found":true},"guestAuthors":[],"slug":"1896-mystery-airship-bay-area-ufo-history-victorian-aliens","title":"In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt","publishDate":1715374318,"format":"aside","headTitle":"In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13957590\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-4.30.03-PM.png\" alt=\"A Victorian illustration of two men watching an airship with wings and spotlights flying near the top of the Capitol building.\" width=\"1130\" height=\"994\">\u003cfigcaption class=\"wp-caption-text\">A rendition of the airship seen in the skies above Sacramento, as illustrated in ‘The San Francisco Call and Post’ on Nov. 29, 1896.\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1890s, Northern California was in flux — living with Victorian sensibilities, but surrounded by remnants of the gold rush. \u003ca href=\"https://www.kqed.org/arts/13912657/gum-girls-midwinter-fair-san-francisco-history-golden-gate-park\">San Francisco’s Midwinter Fair\u003c/a> in 1894 had ushered in an age of electricity-fueled modernity, but \u003ca href=\"https://www.kqed.org/arts/13932525/mother-thompson-san-francisco-tavern-owner-bay-area-history\">sailors were still brawling\u003c/a> it out down on the Embarcadero. New-fangled ways to have fun — like the \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">Haight Street Chutes\u003c/a> and home \u003ca href=\"https://www.kqed.org/arts/13924208/uc-santa-barbara-edison-phonograph-audio-cylinder-archive-vaudeville-racism\">phonographs\u003c/a> — were all the rage, but, for most, life revolved around basic necessities.\u003c/p>\n\u003cp>In November 1896, however, the entire region was excited and united by one thing: a mysterious “airship” that was spotted repeatedly in the skies over San Francisco, Oakland and Sacramento. At the time, airships had been invented but they were flown primarily in Europe and had yet to make a West Coast debut. To see an airship over the Bay Area in 1896 wasn’t just unusual, it was entirely unheard of — and yet, suddenly, hundreds of witnesses began reporting just that.\u003c/p>\n\u003cp>[aside postid='arts_13917340']Making these sightings all the more perplexing was the fact that they only happened at night, and the aircraft in question reportedly had wings, making it unlike any airship that existed at the time. Multiple passengers on an Oakland streetcar one November night described the craft hovering over Fruitvale as “resembling a huge bird in its outlines … which seemed to rise and fall in its course.”\u003c/p>\n\u003cp>That night, the streetcar’s conductor said the ship had one powerful headlight and several smaller lights on board. This was a welcome elaboration, as many witnesses around the Bay had reported seeing only bright lights in the sky. The day after the sighting on the streetcar, \u003cem>The San Francisco Call and Post\u003c/em> reported that:\u003c/p>\n\u003cblockquote>\u003cp>[The airship] was high in the heavens and appeared to be of huge size. When first seen, it seemed to be floating over San Leandro. It moved rapidly, going at least twenty miles an hour. It shot across the skies in the northwest, then turned quickly and disappeared in the direction of Hayward.\u003c/p>\u003c/blockquote>\n\u003cp>The newspaper was particularly invested in the story, since its very own advertising manager, Samuel Foltz, had seen the craft from his Parnassus Heights home in San Francisco. He wasn’t the only one. Colonel W. H. Menton of the Southern Pacific Railroad Company saw the airship from the Supreme Court building at Larkin and McAllister. “The light was far brighter than any of the electric lights I saw just below, in and about the park,” he also told \u003cem>The Call\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another witness cited in the newspaper that day was Mayor Adolph Sutro, who had several employees who’d seen the craft days before newspapers had even begun reporting the sightings. “I certainly think that some shrewd inventor has solved the problem of aerial navigation,” Sutro said, “and that we will hear all about it within a short time.”\u003c/p>\n\u003cp>[aside postid='arts_13919589']Here, then, is where the mystery deepens.\u003c/p>\n\u003cp>No such inventor ever came forward. And no winged airship was ever patented and produced. In fact, the first gas-powered Zeppelin didn’t fly until July 1900, and its maiden voyage was in Germany. Airships weren’t even used by the US Army until 1908. So what were so many people seeing in the skies around the Bay in 1896?\u003c/p>\n\u003cfigure id=\"attachment_13957579\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png\" alt=\"A Victorian illustration of a man gazing up at dark skies, astonished to see a clipper ship there.\" width=\"1598\" height=\"1246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-800x624.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1020x795.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-768x599.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1536x1198.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, referencing renowned ship builder and inventor Irving M. Scott, appeared in ‘The San Francisco Call’ in Nov. 1896, during the peak of the UFO sightings. \u003ccite>(The San Francisco Call and Post/ Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, newspapers swirled with conjecture about whether or not a patent attorney named George Collins knew who the inventor of the mysterious craft was. Collins publicly spoke of being visited by a man who was seeking a patent for a new airship that he claimed had been spotted over Sacramento. Collins told the man he could not provide a patent without first seeing a model of the aircraft. With that, Collins told reporters, the client was gone, never to be seen again. “I know nothing about the airship,” the attorney said. “I do not know what it is made of, what power propels it, nor where its inventor now is.”\u003c/p>\n\u003cp>Frustrated by Collins’ lack of information, rumors began swirling around San Francisco that the mysterious inventor was a 34-year-old dentist named E. H. Benjamin. Dr. Benjamin had patented a variety of dental equipment through Collins and also acted as his dentist. But when a \u003cem>Call\u003c/em> reporter tracked him down, the dentist simply said: “I only wish I was the inventor. But I am inclined to think I would be afraid to go up in it.”\u003c/p>\n\u003cp>[aside postid='arts_13935838']By the end of 1896, Bay Area airship sightings had stopped altogether. The confounding thing is, they quickly started up in other parts of the country — first Nebraska in Feb. 1897, followed by Illinois, Michigan, Wisconsin, Iowa, Missouri and Kansas. The craft seen in Marshfield, Wisconsin was described as “cone-shaped with glaring headlights,” moving up to 70 mph — very similar to what had been seen in California.\u003c/p>\n\u003cp>Many newspapers of the era described credible sightings, alongside hoax attempts. Fake photos of a flying airship — made using images of a painted canvas on wires — were reported in Rogers Park, Illinois. Groups of men in Omaha, Nebraska and Burlington, Iowa confessed to sending up huge balloons to confuse people actively looking for the airship. And on April 2, 1897, the K\u003cem>ansas City Journal, \u003c/em>mindful that what it was describing may have been an April Fool’s prank, nevertheless reported a:\u003c/p>\n\u003cp>“Flying machine in view for more than an hour … [Witnesses] assert that the floating power seemed to be in a mammoth bag, supposedly filled with gas. To this were attached four light wings of triangular form, two on either side and from the great bag was suspended a cage or car. This car was canoe-shaped and appeared to be from twenty-five to thirty feet long. A few declared that the ship had red lights hung over the edges of the car.”\u003c/p>\n\u003cp>No one was quite sure what to believe, as is evidenced by the following words gingerly printed in Pennsylvania newspaper \u003cem>The York Dispatch\u003c/em> in May 1897:\u003c/p>\n\u003cblockquote>\u003cp>Recently, the newspapers of the whole country have been exploiting stories of airships seen hovering over various towns and country places in districts very far apart. The testimony seems unimpeachable, especially in the face of so many witnesses, but certain details are always lacking to complete the evidence.\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, the origins of 1896’s unidentified flying airship were never revealed. Theories posited in the century since have included: a mass media hoax, actual bonafide aliens visiting Earth and delusional witnesses (perhaps inspired by the recent publication of H. G. Wells’ \u003cem>The Time Machine\u003c/em>) confusing the planet Venus for an aircraft. The fact that no one ever took ownership of the aircraft leaves its existence tantalizingly open to interpretation. It all just depends on how much you want to believe.\u003c/p>\n\n","blocks":[],"excerpt":"For weeks, witnesses in San Francisco, Oakland and Sacramento saw a mysterious \"airship.\" Then it disappeared.","status":"publish","parent":0,"modified":1715383511,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1231},"headData":{"title":"The 1896 UFO That Stunned Bay Area Victorians | KQED","description":"For weeks, witnesses in San Francisco, Oakland and Sacramento saw a mysterious "airship." Then it disappeared.","ogTitle":"In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt","ogDescription":"","ogImgId":"","twTitle":"In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt","twDescription":"","twImgId":"","socialTitle":"The 1896 UFO That Stunned Bay Area Victorians%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt","datePublished":"2024-05-10T20:51:58.000Z","dateModified":"2024-05-10T23:25:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957514","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957590\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-4.30.03-PM.png\" alt=\"A Victorian illustration of two men watching an airship with wings and spotlights flying near the top of the Capitol building.\" width=\"1130\" height=\"994\">\u003cfigcaption class=\"wp-caption-text\">A rendition of the airship seen in the skies above Sacramento, as illustrated in ‘The San Francisco Call and Post’ on Nov. 29, 1896.\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1890s, Northern California was in flux — living with Victorian sensibilities, but surrounded by remnants of the gold rush. \u003ca href=\"https://www.kqed.org/arts/13912657/gum-girls-midwinter-fair-san-francisco-history-golden-gate-park\">San Francisco’s Midwinter Fair\u003c/a> in 1894 had ushered in an age of electricity-fueled modernity, but \u003ca href=\"https://www.kqed.org/arts/13932525/mother-thompson-san-francisco-tavern-owner-bay-area-history\">sailors were still brawling\u003c/a> it out down on the Embarcadero. New-fangled ways to have fun — like the \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">Haight Street Chutes\u003c/a> and home \u003ca href=\"https://www.kqed.org/arts/13924208/uc-santa-barbara-edison-phonograph-audio-cylinder-archive-vaudeville-racism\">phonographs\u003c/a> — were all the rage, but, for most, life revolved around basic necessities.\u003c/p>\n\u003cp>In November 1896, however, the entire region was excited and united by one thing: a mysterious “airship” that was spotted repeatedly in the skies over San Francisco, Oakland and Sacramento. At the time, airships had been invented but they were flown primarily in Europe and had yet to make a West Coast debut. To see an airship over the Bay Area in 1896 wasn’t just unusual, it was entirely unheard of — and yet, suddenly, hundreds of witnesses began reporting just that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13917340","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Making these sightings all the more perplexing was the fact that they only happened at night, and the aircraft in question reportedly had wings, making it unlike any airship that existed at the time. Multiple passengers on an Oakland streetcar one November night described the craft hovering over Fruitvale as “resembling a huge bird in its outlines … which seemed to rise and fall in its course.”\u003c/p>\n\u003cp>That night, the streetcar’s conductor said the ship had one powerful headlight and several smaller lights on board. This was a welcome elaboration, as many witnesses around the Bay had reported seeing only bright lights in the sky. The day after the sighting on the streetcar, \u003cem>The San Francisco Call and Post\u003c/em> reported that:\u003c/p>\n\u003cblockquote>\u003cp>[The airship] was high in the heavens and appeared to be of huge size. When first seen, it seemed to be floating over San Leandro. It moved rapidly, going at least twenty miles an hour. It shot across the skies in the northwest, then turned quickly and disappeared in the direction of Hayward.\u003c/p>\u003c/blockquote>\n\u003cp>The newspaper was particularly invested in the story, since its very own advertising manager, Samuel Foltz, had seen the craft from his Parnassus Heights home in San Francisco. He wasn’t the only one. Colonel W. H. Menton of the Southern Pacific Railroad Company saw the airship from the Supreme Court building at Larkin and McAllister. “The light was far brighter than any of the electric lights I saw just below, in and about the park,” he also told \u003cem>The Call\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another witness cited in the newspaper that day was Mayor Adolph Sutro, who had several employees who’d seen the craft days before newspapers had even begun reporting the sightings. “I certainly think that some shrewd inventor has solved the problem of aerial navigation,” Sutro said, “and that we will hear all about it within a short time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13919589","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Here, then, is where the mystery deepens.\u003c/p>\n\u003cp>No such inventor ever came forward. And no winged airship was ever patented and produced. In fact, the first gas-powered Zeppelin didn’t fly until July 1900, and its maiden voyage was in Germany. Airships weren’t even used by the US Army until 1908. So what were so many people seeing in the skies around the Bay in 1896?\u003c/p>\n\u003cfigure id=\"attachment_13957579\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png\" alt=\"A Victorian illustration of a man gazing up at dark skies, astonished to see a clipper ship there.\" width=\"1598\" height=\"1246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-800x624.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1020x795.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-768x599.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1536x1198.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, referencing renowned ship builder and inventor Irving M. Scott, appeared in ‘The San Francisco Call’ in Nov. 1896, during the peak of the UFO sightings. \u003ccite>(The San Francisco Call and Post/ Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, newspapers swirled with conjecture about whether or not a patent attorney named George Collins knew who the inventor of the mysterious craft was. Collins publicly spoke of being visited by a man who was seeking a patent for a new airship that he claimed had been spotted over Sacramento. Collins told the man he could not provide a patent without first seeing a model of the aircraft. With that, Collins told reporters, the client was gone, never to be seen again. “I know nothing about the airship,” the attorney said. “I do not know what it is made of, what power propels it, nor where its inventor now is.”\u003c/p>\n\u003cp>Frustrated by Collins’ lack of information, rumors began swirling around San Francisco that the mysterious inventor was a 34-year-old dentist named E. H. Benjamin. Dr. Benjamin had patented a variety of dental equipment through Collins and also acted as his dentist. But when a \u003cem>Call\u003c/em> reporter tracked him down, the dentist simply said: “I only wish I was the inventor. But I am inclined to think I would be afraid to go up in it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935838","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>By the end of 1896, Bay Area airship sightings had stopped altogether. The confounding thing is, they quickly started up in other parts of the country — first Nebraska in Feb. 1897, followed by Illinois, Michigan, Wisconsin, Iowa, Missouri and Kansas. The craft seen in Marshfield, Wisconsin was described as “cone-shaped with glaring headlights,” moving up to 70 mph — very similar to what had been seen in California.\u003c/p>\n\u003cp>Many newspapers of the era described credible sightings, alongside hoax attempts. Fake photos of a flying airship — made using images of a painted canvas on wires — were reported in Rogers Park, Illinois. Groups of men in Omaha, Nebraska and Burlington, Iowa confessed to sending up huge balloons to confuse people actively looking for the airship. And on April 2, 1897, the K\u003cem>ansas City Journal, \u003c/em>mindful that what it was describing may have been an April Fool’s prank, nevertheless reported a:\u003c/p>\n\u003cp>“Flying machine in view for more than an hour … [Witnesses] assert that the floating power seemed to be in a mammoth bag, supposedly filled with gas. To this were attached four light wings of triangular form, two on either side and from the great bag was suspended a cage or car. This car was canoe-shaped and appeared to be from twenty-five to thirty feet long. A few declared that the ship had red lights hung over the edges of the car.”\u003c/p>\n\u003cp>No one was quite sure what to believe, as is evidenced by the following words gingerly printed in Pennsylvania newspaper \u003cem>The York Dispatch\u003c/em> in May 1897:\u003c/p>\n\u003cblockquote>\u003cp>Recently, the newspapers of the whole country have been exploiting stories of airships seen hovering over various towns and country places in districts very far apart. The testimony seems unimpeachable, especially in the face of so many witnesses, but certain details are always lacking to complete the evidence.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, the origins of 1896’s unidentified flying airship were never revealed. Theories posited in the century since have included: a mass media hoax, actual bonafide aliens visiting Earth and delusional witnesses (perhaps inspired by the recent publication of H. G. Wells’ \u003cem>The Time Machine\u003c/em>) confusing the planet Venus for an aircraft. The fact that no one ever took ownership of the aircraft leaves its existence tantalizingly open to interpretation. It all just depends on how much you want to believe.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens","authors":["11242"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_14353","arts_1143","arts_5779","arts_1146"],"featImg":"arts_13957664","label":"arts"},"arts_13957626":{"type":"posts","id":"arts_13957626","meta":{"index":"posts_1591205157","site":"arts","id":"13957626","found":true},"guestAuthors":[],"slug":"oakland-greek-festival-lamb-gyro-2024","title":"The Oakland Greek Festival Is the Ultimate Church Potluck","publishDate":1715371695,"format":"standard","headTitle":"The Oakland Greek Festival Is the Ultimate Church Potluck | KQED","labelTerm":{},"content":"\u003cp>Give me a choice between Michelin-starred fine dining and a big, immigrant-cooked church potluck, and I’ll choose the potluck nine times out of ten. That’s probably why I love the \u003ca href=\"https://www.oaklandgreekfestival.com/\">Oakland Greek Festival\u003c/a>, the Greek Orthodox Cathedral of the Ascension’s flagship event: It’s essentially the biggest, liveliest church potluck you can imagine — an expression of the Bay Area’s multigenerational Greek community that’s infused with so much joy and down-to-earth hospitality. Not to mention the irresistible aroma of skewered meats and roast lamb you can smell from several blocks away.\u003c/p>\n\u003cp>The Oakland cathedral will host this year’s three-day lamb-stravaganza on May 17–19, but the festival’s history goes back more than 50 years.\u003c/p>\n\u003cp>Frosene Phillips, a spokesperson for the Oakland Greek Festival, remembers attending as a dancer when the event first started in the early ’70s. Back then, Phillips recalls, the festival was held at the old Oakland Civic Auditorium, near Lake Merritt. When the event debuted the first week of May in 1972, they called it the “Greek Week” — seven full days of music, folk dancing, food and wine, all in celebration of the church’s 50th anniversary in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13957639\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957639\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival-.jpg\" alt=\"Lamb skewers on the grill.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lamb skewers ready to come off the grill. \u003ccite>(Courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, the festival moved to the Cathedral of the Ascension’s own church grounds in the Oakland hills, where the event carried on year after year. They’ve only skipped it three times: once when the auditorium was under renovation, and then of course the first two years of the COVID shutdown, when all big public gatherings went on pause.\u003c/p>\n\u003cp>One of the first Greek food and culture festivals of its kind in the U.S., it became a model — the “mothership,” as Phillips puts it — for other similar church-affiliated Greek “bazaars” that sprung up around the Bay Area and beyond. As Phillips recalls, “Even Greek parishes from the East Coast would send people out to see what was going on in Oakland.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For parishioners here in the East Bay, it was a whole lot of work and preparation, starting months in advance.\u003c/p>\n\u003cfigure id=\"attachment_13957632\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16.jpg\" alt=\"Black and white photo of elderly women in aprons preparing trays of Greek moussaka.\" width=\"1920\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-1536x1062.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Church volunteers prepare trays of moussaka for an early 1980s edition of the festival. \u003ccite>(Courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I call it Greek hospitality on a grand scale,” Phillips says.\u003c/p>\n\u003cp>These days, as the proverbial baton has been passed from one generation to the next, Phillips says the biggest challenge is just finding enough volunteers from the parish to put together such a massive, well-attended event, especially from a food standpoint. Still, even after all these years, the vast majority of the food sold at the festival is prepared by church volunteers — only a handful of items have been outsourced, Phillips says.\u003c/p>\n\u003cp>Historically, the signature item was roast lamb — a whole lamb grilled on a spit for each day of the festival. Visitors would buy a ticket as soon as they arrived, and when the lamb had finished cooking, they’d line up to receive a plate piled high with meat, rice, vegetables and all the fixins.\u003c/p>\n\u003cfigure id=\"attachment_13957635\" class=\"wp-caption alignnone\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-scaled.jpg\" alt=\"A smiling young boy holds a pair of metal tongs as he tends to lamb kebabs cooking on the grill.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1368x2048.jpg 1368w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Each year’s festival is a team effort, with church parishioners of all ages pitching in. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13915306,arts_13955522']\u003c/span>\u003c/span>The whole lamb has been put on hold since the pandemic, but the festival still offers a multitude of grilled meat options: gyros, skewered kebabs and the sausages known as loukaniko. And of course there will still be juicy, thinly sliced leg of lamb, served as an open-face sandwich with au jus drizzled on top. Separate booths will sell grilled lamb chops and lamb shanks.\u003c/p>\n\u003cp>In total, the food options are almost too many to enumerate. The squares of flaming cheese known as saganaki. The hearty, lasagna-like pastitsio. The many different types of phyllo-based pastries, including bougatsa, a flaky, custard-filled sweet pastry that will be offered for the first time this year. In fact, there will be a whole room dedicated to desserts, including loukoumades, the honey-drenched doughnut holes that draw the longest line at every Greek food event I’ve ever attended.\u003c/p>\n\u003cfigure id=\"attachment_13957637\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911.jpg\" alt=\"Two cooks shout out in excitement and trepidation as a grill topped with squares of cheese bursts into flame. \" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flaming cheese known as saganaki is always a spectacle, in addition to being a treat to eat. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13957638\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193.jpg\" alt=\"A pile of freshly fried doughnut holes.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A fresh batch of loukoumades. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plenty of non-Greek, non-Orthodox folks attend the festival solely on the basis of how great the food is, but that certainly isn’t the only reason to attend. There’s also live music, folk dancing and other cultural performances to keep the good vibes flowing.\u003c/p>\n\u003cp>And if you’ve never visited the Cathedral of the Ascension, up in the hills? On a clear day, you’ll enjoy one of the most exquisite views of the San Francisco Bay.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/\">\u003ci>Oakland Greek Festival\u003c/i>\u003c/a>\u003ci> will take place on Friday, (4–10 p.m.), Saturday (11 a.m.–10 p.m.) and Sunday (11 a.m.–9 p.m.), May 17–19, at the Greek Orthodox Cathedral of Ascension in Oakland (4700 Lincoln Ave.). \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/?pgid=jx02htlz-809dd8e6-82d4-405a-8d12-5a5365dffdc6\">\u003ci>Tickets are $5\u003c/i>\u003c/a>\u003ci> (with discounts for multiple-day passes, and children under 12 are free). There are several options for \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/about-3\">\u003ci>free and paid parking\u003c/i>\u003c/a>\u003ci> within walking distance of the cathedral.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"It’s time to feast on gyros, lamb sandwiches, phyllo and loukoumades.","status":"publish","parent":0,"modified":1715381728,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":926},"headData":{"title":"The Oakland Greek Festival Is the Ultimate Church Potluck | KQED","description":"It’s time to feast on gyros, lamb sandwiches, phyllo and loukoumades.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Oakland Greek Festival Is the Ultimate Church Potluck","datePublished":"2024-05-10T20:08:15.000Z","dateModified":"2024-05-10T22:55:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13957626","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957626/oakland-greek-festival-lamb-gyro-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Give me a choice between Michelin-starred fine dining and a big, immigrant-cooked church potluck, and I’ll choose the potluck nine times out of ten. That’s probably why I love the \u003ca href=\"https://www.oaklandgreekfestival.com/\">Oakland Greek Festival\u003c/a>, the Greek Orthodox Cathedral of the Ascension’s flagship event: It’s essentially the biggest, liveliest church potluck you can imagine — an expression of the Bay Area’s multigenerational Greek community that’s infused with so much joy and down-to-earth hospitality. Not to mention the irresistible aroma of skewered meats and roast lamb you can smell from several blocks away.\u003c/p>\n\u003cp>The Oakland cathedral will host this year’s three-day lamb-stravaganza on May 17–19, but the festival’s history goes back more than 50 years.\u003c/p>\n\u003cp>Frosene Phillips, a spokesperson for the Oakland Greek Festival, remembers attending as a dancer when the event first started in the early ’70s. Back then, Phillips recalls, the festival was held at the old Oakland Civic Auditorium, near Lake Merritt. When the event debuted the first week of May in 1972, they called it the “Greek Week” — seven full days of music, folk dancing, food and wine, all in celebration of the church’s 50th anniversary in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13957639\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957639\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival-.jpg\" alt=\"Lamb skewers on the grill.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/27-2023-OaklandGreekFestival--1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lamb skewers ready to come off the grill. \u003ccite>(Courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, the festival moved to the Cathedral of the Ascension’s own church grounds in the Oakland hills, where the event carried on year after year. They’ve only skipped it three times: once when the auditorium was under renovation, and then of course the first two years of the COVID shutdown, when all big public gatherings went on pause.\u003c/p>\n\u003cp>One of the first Greek food and culture festivals of its kind in the U.S., it became a model — the “mothership,” as Phillips puts it — for other similar church-affiliated Greek “bazaars” that sprung up around the Bay Area and beyond. As Phillips recalls, “Even Greek parishes from the East Coast would send people out to see what was going on in Oakland.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For parishioners here in the East Bay, it was a whole lot of work and preparation, starting months in advance.\u003c/p>\n\u003cfigure id=\"attachment_13957632\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16.jpg\" alt=\"Black and white photo of elderly women in aprons preparing trays of Greek moussaka.\" width=\"1920\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1981-Pics-p16-1536x1062.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Church volunteers prepare trays of moussaka for an early 1980s edition of the festival. \u003ccite>(Courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I call it Greek hospitality on a grand scale,” Phillips says.\u003c/p>\n\u003cp>These days, as the proverbial baton has been passed from one generation to the next, Phillips says the biggest challenge is just finding enough volunteers from the parish to put together such a massive, well-attended event, especially from a food standpoint. Still, even after all these years, the vast majority of the food sold at the festival is prepared by church volunteers — only a handful of items have been outsourced, Phillips says.\u003c/p>\n\u003cp>Historically, the signature item was roast lamb — a whole lamb grilled on a spit for each day of the festival. Visitors would buy a ticket as soon as they arrived, and when the lamb had finished cooking, they’d line up to receive a plate piled high with meat, rice, vegetables and all the fixins.\u003c/p>\n\u003cfigure id=\"attachment_13957635\" class=\"wp-caption alignnone\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-scaled.jpg\" alt=\"A smiling young boy holds a pair of metal tongs as he tends to lamb kebabs cooking on the grill.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-06193-1368x2048.jpg 1368w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Each year’s festival is a team effort, with church parishioners of all ages pitching in. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13915306,arts_13955522","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>The whole lamb has been put on hold since the pandemic, but the festival still offers a multitude of grilled meat options: gyros, skewered kebabs and the sausages known as loukaniko. And of course there will still be juicy, thinly sliced leg of lamb, served as an open-face sandwich with au jus drizzled on top. Separate booths will sell grilled lamb chops and lamb shanks.\u003c/p>\n\u003cp>In total, the food options are almost too many to enumerate. The squares of flaming cheese known as saganaki. The hearty, lasagna-like pastitsio. The many different types of phyllo-based pastries, including bougatsa, a flaky, custard-filled sweet pastry that will be offered for the first time this year. In fact, there will be a whole room dedicated to desserts, including loukoumades, the honey-drenched doughnut holes that draw the longest line at every Greek food event I’ve ever attended.\u003c/p>\n\u003cfigure id=\"attachment_13957637\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911.jpg\" alt=\"Two cooks shout out in excitement and trepidation as a grill topped with squares of cheese bursts into flame. \" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/oaklandgreekfestival2019_stavromedia_-05911-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flaming cheese known as saganaki is always a spectacle, in addition to being a treat to eat. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13957638\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193.jpg\" alt=\"A pile of freshly fried doughnut holes.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GreekFestival2022-StavroMedia-193-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A fresh batch of loukoumades. \u003ccite>(Stavro Media, courtesy of Oakland Greek Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plenty of non-Greek, non-Orthodox folks attend the festival solely on the basis of how great the food is, but that certainly isn’t the only reason to attend. There’s also live music, folk dancing and other cultural performances to keep the good vibes flowing.\u003c/p>\n\u003cp>And if you’ve never visited the Cathedral of the Ascension, up in the hills? On a clear day, you’ll enjoy one of the most exquisite views of the San Francisco Bay.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/\">\u003ci>Oakland Greek Festival\u003c/i>\u003c/a>\u003ci> will take place on Friday, (4–10 p.m.), Saturday (11 a.m.–10 p.m.) and Sunday (11 a.m.–9 p.m.), May 17–19, at the Greek Orthodox Cathedral of Ascension in Oakland (4700 Lincoln Ave.). \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/?pgid=jx02htlz-809dd8e6-82d4-405a-8d12-5a5365dffdc6\">\u003ci>Tickets are $5\u003c/i>\u003c/a>\u003ci> (with discounts for multiple-day passes, and children under 12 are free). There are several options for \u003c/i>\u003ca href=\"https://www.oaklandgreekfestival.com/about-3\">\u003ci>free and paid parking\u003c/i>\u003c/a>\u003ci> within walking distance of the cathedral.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957626/oakland-greek-festival-lamb-gyro-2024","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_22068","arts_1297","arts_1143","arts_585"],"featImg":"arts_13957628","label":"source_arts_13957626"},"arts_13957684":{"type":"posts","id":"arts_13957684","meta":{"index":"posts_1591205157","site":"arts","id":"13957684","found":true},"guestAuthors":[],"slug":"best-plays-musicals-theatre-bay-area-summer-2024","title":"Your Guide to the Best Plays and Musicals in the Bay Area This Summer","publishDate":1715636581,"format":"aside","headTitle":"Your Guide to the Best Plays and Musicals in the Bay Area This Summer | KQED","labelTerm":{},"content":"\u003cp>This summer, Bay Area theater offers something for everyone. Whether you’re seeking out experimental offerings, a tried-and-true Shakespeare classic under the stars, or some hefty song and dance Broadway style, the Bay Area’s summer has you covered.\u003c/p>\n\u003cp>Here are 10 shows in the Bay Area from June to early September that are not to be missed. \u003c/p>\n\u003cfigure id=\"attachment_13957713\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_.jpg\" alt=\"\" width=\"1920\" height=\"1432\" class=\"size-full wp-image-13957713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-1536x1146.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fact-checking and copy editing take center stage in ‘The Lifespan of a Fact’ at Aurora Theatre this summer. \u003ccite>(Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.auroratheatre.org/fact\">The Lifespan of a Fact\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aurora Theatre, Berkeley\u003cbr>\nJune 21–July 25, 2024\u003c/em>\u003c/p>\n\u003cp>Jim Fingal is a newly minted Harvard grad who takes a job at a consequential magazine as a fact-checker. That consequence has softened, however, since the magazine is now hanging by a thread. An essay from mega-talent John D’Agata, about a teen boy’s suicide, could change the magazine’s fortunes.\u003c/p>\n\u003cp>There’s one major problem — the actual facts of the story are shaky at best, placing both characters into a battle between truth and fiction. (The play’s heralded 2018 Broadway run featured actors Bobby Cannavale, Daniel Radcliffe and Cherry Jones.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s no better time to support Aurora, a gem of a small theater in Berkeley. Like many theaters post-pandemic, the company faces a major funding shortfall, and are in \u003ca href=\"https://givebutter.com/AuroraSpring24\">an active campaign\u003c/a> to save their artistic outlet.\u003c/p>\n\u003cfigure id=\"attachment_13957720\" class=\"wp-caption aligncenter\" style=\"max-width: 1665px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych.jpg\" alt=\"\" width=\"1665\" height=\"1143\" class=\"size-full wp-image-13957720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych.jpg 1665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-1536x1054.jpg 1536w\" sizes=\"(max-width: 1665px) 100vw, 1665px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Rhys Williams is Lawrence Jameson and Keith Pinto is Freddy Benson in the San Jose Stage production of ‘Dirty Rotten Scoundrels.’ \u003ccite>(San Jose Stage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thestage.org/\">Dirty Rotten Scoundrels\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Jose Stage\u003cbr>\nJune 5–30, 2024\u003c/em>\u003c/p>\n\u003cp>Based on the popular 1988 film and directed by Stage Associate Artist Johnny Moreno, this French Riviera con caper follows two men who compete for the heart of a wealthy American heiress. Featuring a jazzy score from composer David Yazbek (\u003cem>The Full Monty\u003c/em>, \u003cem>The Band’s Visit\u003c/em>), the Stage is digging into another example of what they do so well — the quirky summer musical. \u003c/p>\n\u003cfigure id=\"attachment_13957712\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13957712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bridgette Loriaux is Beatrice and Johnny Moreno is Benedick in ‘Much Ado About Nothing.’\u003cbr> \u003ccite>(Marin Shakespeare Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/\">Much Ado About Nothing\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Marin Shakespeare Company, San Rafael\u003cbr>\nJune 28–July 28, 2024\u003c/em>\u003c/p>\n\u003cp>In this wild Shakespearean romp, Beatrice and Benedick engage in a war of words while the soldier Claudio falls for the fair Hero. After the requisite bickering commences, love is discovered, vows are exchanged and all is well. \u003c/p>\n\u003cp>Popular Bay Area director and educator Domenique Lozano handles the direction, with Bridgette Loriaux playing Beatrice and Johnny Moreno tackling Benedick. And while the play’s the thing, renting some cushions and plopping them down inside the spacious seating area for a show under the North Bay stars can’t be beat. \u003c/p>\n\u003cp>Preshow pro tip – enjoy a Cubano sandwich at Sol Food down the street while taking in some salsa beats from the live band that plays on the sidewalk.\u003cbr>\nAnd if you’re looking for even more Shakespearean comedy under the summer stars, the return of Cal Shakes in Orinda to regular theater programming includes the 50th anniversary production of \u003cem>\u003ca href=\"https://calshakes.org/as-you-like-it-2024/\">As You Like It\u003c/a>\u003c/em> at Bruns Memorial Amphitheater in September.\u003c/p>\n\u003cfigure id=\"attachment_13957709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4.jpg\" alt=\"\" width=\"1920\" height=\"1885\" class=\"size-full wp-image-13957709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-1020x1001.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-1536x1508.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Williams comes to Oakland for the role of Tommy DeVito in the Woodminster Summer Musicals production ‘Jersey Boys’ in July.\u003cbr> \u003ccite>(Ryan J. Zirngibl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.woodminster.com/\">Jersey Boys\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Woodminster Summer Musicals, Oakland\u003cbr>\nJuly 12–21, 2024\u003c/em>\u003c/p>\n\u003cp>The story of Frankie Valli and the Four Seasons has had productions all over the world, with Broadway and off-Broadway productions still running while multiple national tours stop often in the Bay Area. (The production made its regional premiere via the first national tour in December of 2006 at the Curran Theatre in San Francisco.)\u003c/p>\n\u003cp>There are several reasons for the production’s popularity, namely the non-stop hit parade that is the music of Valli and songwriter Bob Gaudio, whose handshake agreement lasting decades is the stuff of legend. But the one thing that could usurp the show’s quality is the venue itself, nestled neatly within Joaquin Miller Park in the idyllic Oakland hills. When night falls, it’s one of the most picturesque views in the Bay. \u003c/p>\n\u003cfigure id=\"attachment_13957715\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1.jpg\" alt=\"\" width=\"1180\" height=\"664\" class=\"size-full wp-image-13957715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-768x432.jpg 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Octavio Solis’ ‘Mother Road,’an adaptation of ‘The Grapes of Wrath,’ explores the story of Martín, a descendant of the Joad family. \u003ccite>(Anne Hamersky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/mother-road/\">Mother Road\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre\u003cbr>\nJune 14–July 21, 2024\u003c/em>\u003c/p>\n\u003cp>Octavio Solis, who spent decades in the Bay Area before moving to Oregon, makes one of his frequent Bay Area returns with \u003cem>Mother Road\u003c/em>. The story is a spinoff of \u003cem>The Grapes of Wrath\u003c/em>, taking the story’s iconic blue-collar hero Tom Joad and offering the new narrative of his descendant named Martín, a Mexican-American migrant worker. \u003c/p>\n\u003cp>Terminally ill William Joad learns of Martín as an heir to the family farm, and together they return to Oklahoma, the site of the Joad family’s perilous journey that serves as the soul of the original source material. Solis’ realism and poetic sensibilities are placed in the hands of the Rep’s associate artistic director David Mendizábal, who will direct the piece.\u003c/p>\n\u003cfigure id=\"attachment_13957706\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka.jpg\" alt=\"\" width=\"1920\" height=\"1417\" class=\"size-full wp-image-13957706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-1536x1134.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Naomi Iizuka is spending the bulk of her summer in San Francisco, with the world premiere of her play ‘Garuda’s Wing’ debuting in June, and her translation of Shakespeare’s ‘Richard II’ opening in August.\u003cbr> \u003ccite>(Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://magictheatre.org/calendar/garudas-wing\">Garuda’s Wing\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Magic Theatre, San Francisco\u003cbr>\nJune 5–July 23, 2024\u003c/em>\u003c/p>\n\u003cp>Playwright Naomi Iizuka is getting cozy inside the iconic theater space at Fort Mason for the entire summer, kicking things off with a ghost play. It’s an international investigation, and an intergenerational exploration, set across locales such as Jakarta and Borneo. A search unearths murder, while exposing the effects of revolution and colonialism. Lorraine Hansberry Theatre artistic director Margo Hall directs.\u003c/p>\n\u003cp>To further expand on Iizuka’s time in San Francisco, her translation of the intense and timely \u003cem>Richard II\u003c/em>, directed by Santa Clara University professor Karina Gutierrez, follows in August.\u003c/p>\n\u003cfigure id=\"attachment_13957708\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1272\" class=\"size-full wp-image-13957708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Former TheatreWorks Silicon Valley artistic director Robert Kelley returns for the world premiere of ‘Being Alive: A Sondheim Celebration’ this June in Mountain View. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/mainstage/being-alive/\">Being Alive: A Sondheim Celebration\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>TheatreWorks Silicon Valley, Mountain View\u003cbr>\nJune 5–30, 2024\u003c/em>\u003c/p>\n\u003cp>Since Stephen Sondheim’s passing in November of 2021, the master composer and lyricist has continued his dominance over every ounce of the musical theater landscape. Now, longtime collaborators Robert Kelley, who served TheatreWorks as artistic director for 50 years, and resident musical director William Liberatore are offering up another new take on Sondheim’s wonderful life. \u003c/p>\n\u003cp>TheatreWorks is a perfect spot for this world premiere, considering Sondheim is the company’s most produced composer. Expect many of Sondheim’s most iconic hits to make their way onto the stage, performed by a stellar six-person cast. (And for those who need even more Sondheim, the 2022 Broadway revival of \u003cem>\u003ca href=\"https://www.broadwaysf.com/events/company/\">Company\u003c/a>\u003c/em>, in which the single 35-year-old Bobbie is gender-swapped for a woman, lunches at BroadwaySF’s Orpheum Theatre in San Francisco for the month of June.) \u003c/p>\n\u003cfigure id=\"attachment_13957710\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped.jpg\" alt=\"\" width=\"1920\" height=\"1224\" class=\"size-full wp-image-13957710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-1536x979.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Michael Wayne Turner III will perform as Dr. Martin Luther King, Jr. in ‘The Ghost of King’ in Oakland.\u003cbr> \u003ccite>(Oakland Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/\">The Ghost of King\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oakland Theater Project\u003cbr>\nJune 6–23, 2024\u003c/em>\u003c/p>\n\u003cp>Michael Wayne Turner III is both the creator and featured performer of this exploration of Dr. Martin Luther King, Jr., digging into the famed civil rights leader and his tireless advocacy to ensure that the underclass are given justice and opportunity.\u003c/p>\n\u003cp>Oakland Theater Project is doing what they do very well — develop, develop, develop — and Turner weaves the life and conflicts of King together with his poetry and most memorable speeches. Details and research inform this insightful deep dive into the iconic leader and orator, gunned down in 1968 a few months past his 39th birthday. \u003c/p>\n\u003cfigure id=\"attachment_13957704\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13957704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Heikki Koskinen and Nan Busse in “Happened Change,” an entry in this year’s San Francisco Fringe Festival, running at the Exit Theatre in August.\u003cbr> \u003ccite>(Steve Bronson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theexit.org/\">San Francisco Fringe Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Exit Theatre, San Francisco\u003cbr>\nAug. 9–25, 2024\u003c/em>\u003c/p>\n\u003cp>The 33rd installment of San Francisco Fringe is all about quirky, poignant fun that exists off the beaten path from run-of-the-mill theatrical fare. Many of the shows are of the solo variety, and Exit Theatre’s festival continues to provide voices and opportunity for theater makers to sharpen both their art and their voices. This year’s festival features a whopping 45 performances of 15 different shows. \u003c/p>\n\u003cfigure id=\"attachment_13957703\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie.jpg\" alt=\"\" width=\"1920\" height=\"1279\" class=\"size-full wp-image-13957703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Everybody’s Talking About Jamie,’ Romelo Urbi plays the title role of Jamie, a 16-year-old high schooler in Sheffield who privately dreams of drag queen stardom. \u003ccite>(Shane Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.rayoflighttheatre.com/jamie\">Everybody’s Talking About Jamie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ray of Light Theatre, San Francisco\u003cbr>\nJune 1–23, 2024\u003c/em>\u003c/p>\n\u003cp>British denizens fell in love with the luminous 16-year-old gay teen Jamie, who was a fixture on London’s West End toward the end of the past decade. Sadly, Americans had to wait. Despite a critically acclaimed 2021 film version, productions of the musical in the United States have been scarce.\u003c/p>\n\u003cp>In June, Ray of Light Theatre gives the Bay an opportunity to fall head over stiletto heels for Jamie, an outcast who dreams of becoming a fabulous drag queen and finding superstar status on the biggest stages. It’s a tender story that shows what allyship and acceptance can mean to a young person looking to soar within their individuality in every aspect of life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A delightful local cast steps in for this one, with Romelo Urbi taking on the title role, and the entire production is led by director Alex Kirschner. Fittingly, the show’s opening night coincides with the annual start to Pride month across the nation. \u003c/p>\n\n","blocks":[],"excerpt":"From Shakespeare under the stars to fringe festivals and more, Bay Area stages are full this summer. ","status":"publish","parent":0,"modified":1715724967,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1716},"headData":{"title":"The Best Plays and Musicals in the Bay Area This Summer | KQED","description":"From Shakespeare under the stars to fringe festivals and more, Bay Area stages are full this summer.","ogTitle":"Your Guide to the Best Plays and Musicals in the Bay Area This Summer","ogDescription":"From Shakespeare under the stars to fringe festivals and more, Bay Area stages are full this summer.","ogImgId":"","twTitle":"Your Guide to the Best Plays and Musicals in the Bay Area This Summer","twDescription":"From Shakespeare under the stars to fringe festivals and more, Bay Area stages are full this summer.","twImgId":"","socialTitle":"The Best Plays and Musicals in the Bay Area This Summer %%page%% %%sep%% KQED","socialDescription":"From Shakespeare under the stars to fringe festivals and more, Bay Area stages are full this summer.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Guide to the Best Plays and Musicals in the Bay Area This Summer","datePublished":"2024-05-13T21:43:01.000Z","dateModified":"2024-05-14T22:16:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"nprStoryId":"kqed-13957684","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957684/best-plays-musicals-theatre-bay-area-summer-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This summer, Bay Area theater offers something for everyone. Whether you’re seeking out experimental offerings, a tried-and-true Shakespeare classic under the stars, or some hefty song and dance Broadway style, the Bay Area’s summer has you covered.\u003c/p>\n\u003cp>Here are 10 shows in the Bay Area from June to early September that are not to be missed. \u003c/p>\n\u003cfigure id=\"attachment_13957713\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_.jpg\" alt=\"\" width=\"1920\" height=\"1432\" class=\"size-full wp-image-13957713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-1536x1146.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fact-checking and copy editing take center stage in ‘The Lifespan of a Fact’ at Aurora Theatre this summer. \u003ccite>(Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.auroratheatre.org/fact\">The Lifespan of a Fact\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aurora Theatre, Berkeley\u003cbr>\nJune 21–July 25, 2024\u003c/em>\u003c/p>\n\u003cp>Jim Fingal is a newly minted Harvard grad who takes a job at a consequential magazine as a fact-checker. That consequence has softened, however, since the magazine is now hanging by a thread. An essay from mega-talent John D’Agata, about a teen boy’s suicide, could change the magazine’s fortunes.\u003c/p>\n\u003cp>There’s one major problem — the actual facts of the story are shaky at best, placing both characters into a battle between truth and fiction. (The play’s heralded 2018 Broadway run featured actors Bobby Cannavale, Daniel Radcliffe and Cherry Jones.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s no better time to support Aurora, a gem of a small theater in Berkeley. Like many theaters post-pandemic, the company faces a major funding shortfall, and are in \u003ca href=\"https://givebutter.com/AuroraSpring24\">an active campaign\u003c/a> to save their artistic outlet.\u003c/p>\n\u003cfigure id=\"attachment_13957720\" class=\"wp-caption aligncenter\" style=\"max-width: 1665px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych.jpg\" alt=\"\" width=\"1665\" height=\"1143\" class=\"size-full wp-image-13957720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych.jpg 1665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-1536x1054.jpg 1536w\" sizes=\"(max-width: 1665px) 100vw, 1665px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Rhys Williams is Lawrence Jameson and Keith Pinto is Freddy Benson in the San Jose Stage production of ‘Dirty Rotten Scoundrels.’ \u003ccite>(San Jose Stage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thestage.org/\">Dirty Rotten Scoundrels\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Jose Stage\u003cbr>\nJune 5–30, 2024\u003c/em>\u003c/p>\n\u003cp>Based on the popular 1988 film and directed by Stage Associate Artist Johnny Moreno, this French Riviera con caper follows two men who compete for the heart of a wealthy American heiress. Featuring a jazzy score from composer David Yazbek (\u003cem>The Full Monty\u003c/em>, \u003cem>The Band’s Visit\u003c/em>), the Stage is digging into another example of what they do so well — the quirky summer musical. \u003c/p>\n\u003cfigure id=\"attachment_13957712\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13957712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bridgette Loriaux is Beatrice and Johnny Moreno is Benedick in ‘Much Ado About Nothing.’\u003cbr> \u003ccite>(Marin Shakespeare Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/\">Much Ado About Nothing\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Marin Shakespeare Company, San Rafael\u003cbr>\nJune 28–July 28, 2024\u003c/em>\u003c/p>\n\u003cp>In this wild Shakespearean romp, Beatrice and Benedick engage in a war of words while the soldier Claudio falls for the fair Hero. After the requisite bickering commences, love is discovered, vows are exchanged and all is well. \u003c/p>\n\u003cp>Popular Bay Area director and educator Domenique Lozano handles the direction, with Bridgette Loriaux playing Beatrice and Johnny Moreno tackling Benedick. And while the play’s the thing, renting some cushions and plopping them down inside the spacious seating area for a show under the North Bay stars can’t be beat. \u003c/p>\n\u003cp>Preshow pro tip – enjoy a Cubano sandwich at Sol Food down the street while taking in some salsa beats from the live band that plays on the sidewalk.\u003cbr>\nAnd if you’re looking for even more Shakespearean comedy under the summer stars, the return of Cal Shakes in Orinda to regular theater programming includes the 50th anniversary production of \u003cem>\u003ca href=\"https://calshakes.org/as-you-like-it-2024/\">As You Like It\u003c/a>\u003c/em> at Bruns Memorial Amphitheater in September.\u003c/p>\n\u003cfigure id=\"attachment_13957709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4.jpg\" alt=\"\" width=\"1920\" height=\"1885\" class=\"size-full wp-image-13957709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-1020x1001.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-1536x1508.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Williams comes to Oakland for the role of Tommy DeVito in the Woodminster Summer Musicals production ‘Jersey Boys’ in July.\u003cbr> \u003ccite>(Ryan J. Zirngibl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.woodminster.com/\">Jersey Boys\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Woodminster Summer Musicals, Oakland\u003cbr>\nJuly 12–21, 2024\u003c/em>\u003c/p>\n\u003cp>The story of Frankie Valli and the Four Seasons has had productions all over the world, with Broadway and off-Broadway productions still running while multiple national tours stop often in the Bay Area. (The production made its regional premiere via the first national tour in December of 2006 at the Curran Theatre in San Francisco.)\u003c/p>\n\u003cp>There are several reasons for the production’s popularity, namely the non-stop hit parade that is the music of Valli and songwriter Bob Gaudio, whose handshake agreement lasting decades is the stuff of legend. But the one thing that could usurp the show’s quality is the venue itself, nestled neatly within Joaquin Miller Park in the idyllic Oakland hills. When night falls, it’s one of the most picturesque views in the Bay. \u003c/p>\n\u003cfigure id=\"attachment_13957715\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1.jpg\" alt=\"\" width=\"1180\" height=\"664\" class=\"size-full wp-image-13957715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-768x432.jpg 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Octavio Solis’ ‘Mother Road,’an adaptation of ‘The Grapes of Wrath,’ explores the story of Martín, a descendant of the Joad family. \u003ccite>(Anne Hamersky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/mother-road/\">Mother Road\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre\u003cbr>\nJune 14–July 21, 2024\u003c/em>\u003c/p>\n\u003cp>Octavio Solis, who spent decades in the Bay Area before moving to Oregon, makes one of his frequent Bay Area returns with \u003cem>Mother Road\u003c/em>. The story is a spinoff of \u003cem>The Grapes of Wrath\u003c/em>, taking the story’s iconic blue-collar hero Tom Joad and offering the new narrative of his descendant named Martín, a Mexican-American migrant worker. \u003c/p>\n\u003cp>Terminally ill William Joad learns of Martín as an heir to the family farm, and together they return to Oklahoma, the site of the Joad family’s perilous journey that serves as the soul of the original source material. Solis’ realism and poetic sensibilities are placed in the hands of the Rep’s associate artistic director David Mendizábal, who will direct the piece.\u003c/p>\n\u003cfigure id=\"attachment_13957706\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka.jpg\" alt=\"\" width=\"1920\" height=\"1417\" class=\"size-full wp-image-13957706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-1536x1134.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Naomi Iizuka is spending the bulk of her summer in San Francisco, with the world premiere of her play ‘Garuda’s Wing’ debuting in June, and her translation of Shakespeare’s ‘Richard II’ opening in August.\u003cbr> \u003ccite>(Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://magictheatre.org/calendar/garudas-wing\">Garuda’s Wing\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Magic Theatre, San Francisco\u003cbr>\nJune 5–July 23, 2024\u003c/em>\u003c/p>\n\u003cp>Playwright Naomi Iizuka is getting cozy inside the iconic theater space at Fort Mason for the entire summer, kicking things off with a ghost play. It’s an international investigation, and an intergenerational exploration, set across locales such as Jakarta and Borneo. A search unearths murder, while exposing the effects of revolution and colonialism. Lorraine Hansberry Theatre artistic director Margo Hall directs.\u003c/p>\n\u003cp>To further expand on Iizuka’s time in San Francisco, her translation of the intense and timely \u003cem>Richard II\u003c/em>, directed by Santa Clara University professor Karina Gutierrez, follows in August.\u003c/p>\n\u003cfigure id=\"attachment_13957708\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1272\" class=\"size-full wp-image-13957708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Former TheatreWorks Silicon Valley artistic director Robert Kelley returns for the world premiere of ‘Being Alive: A Sondheim Celebration’ this June in Mountain View. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/mainstage/being-alive/\">Being Alive: A Sondheim Celebration\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>TheatreWorks Silicon Valley, Mountain View\u003cbr>\nJune 5–30, 2024\u003c/em>\u003c/p>\n\u003cp>Since Stephen Sondheim’s passing in November of 2021, the master composer and lyricist has continued his dominance over every ounce of the musical theater landscape. Now, longtime collaborators Robert Kelley, who served TheatreWorks as artistic director for 50 years, and resident musical director William Liberatore are offering up another new take on Sondheim’s wonderful life. \u003c/p>\n\u003cp>TheatreWorks is a perfect spot for this world premiere, considering Sondheim is the company’s most produced composer. Expect many of Sondheim’s most iconic hits to make their way onto the stage, performed by a stellar six-person cast. (And for those who need even more Sondheim, the 2022 Broadway revival of \u003cem>\u003ca href=\"https://www.broadwaysf.com/events/company/\">Company\u003c/a>\u003c/em>, in which the single 35-year-old Bobbie is gender-swapped for a woman, lunches at BroadwaySF’s Orpheum Theatre in San Francisco for the month of June.) \u003c/p>\n\u003cfigure id=\"attachment_13957710\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped.jpg\" alt=\"\" width=\"1920\" height=\"1224\" class=\"size-full wp-image-13957710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-1536x979.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Michael Wayne Turner III will perform as Dr. Martin Luther King, Jr. in ‘The Ghost of King’ in Oakland.\u003cbr> \u003ccite>(Oakland Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/\">The Ghost of King\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oakland Theater Project\u003cbr>\nJune 6–23, 2024\u003c/em>\u003c/p>\n\u003cp>Michael Wayne Turner III is both the creator and featured performer of this exploration of Dr. Martin Luther King, Jr., digging into the famed civil rights leader and his tireless advocacy to ensure that the underclass are given justice and opportunity.\u003c/p>\n\u003cp>Oakland Theater Project is doing what they do very well — develop, develop, develop — and Turner weaves the life and conflicts of King together with his poetry and most memorable speeches. Details and research inform this insightful deep dive into the iconic leader and orator, gunned down in 1968 a few months past his 39th birthday. \u003c/p>\n\u003cfigure id=\"attachment_13957704\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13957704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Heikki Koskinen and Nan Busse in “Happened Change,” an entry in this year’s San Francisco Fringe Festival, running at the Exit Theatre in August.\u003cbr> \u003ccite>(Steve Bronson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theexit.org/\">San Francisco Fringe Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Exit Theatre, San Francisco\u003cbr>\nAug. 9–25, 2024\u003c/em>\u003c/p>\n\u003cp>The 33rd installment of San Francisco Fringe is all about quirky, poignant fun that exists off the beaten path from run-of-the-mill theatrical fare. Many of the shows are of the solo variety, and Exit Theatre’s festival continues to provide voices and opportunity for theater makers to sharpen both their art and their voices. This year’s festival features a whopping 45 performances of 15 different shows. \u003c/p>\n\u003cfigure id=\"attachment_13957703\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie.jpg\" alt=\"\" width=\"1920\" height=\"1279\" class=\"size-full wp-image-13957703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Everybody’s Talking About Jamie,’ Romelo Urbi plays the title role of Jamie, a 16-year-old high schooler in Sheffield who privately dreams of drag queen stardom. \u003ccite>(Shane Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.rayoflighttheatre.com/jamie\">Everybody’s Talking About Jamie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ray of Light Theatre, San Francisco\u003cbr>\nJune 1–23, 2024\u003c/em>\u003c/p>\n\u003cp>British denizens fell in love with the luminous 16-year-old gay teen Jamie, who was a fixture on London’s West End toward the end of the past decade. Sadly, Americans had to wait. Despite a critically acclaimed 2021 film version, productions of the musical in the United States have been scarce.\u003c/p>\n\u003cp>In June, Ray of Light Theatre gives the Bay an opportunity to fall head over stiletto heels for Jamie, an outcast who dreams of becoming a fabulous drag queen and finding superstar status on the biggest stages. It’s a tender story that shows what allyship and acceptance can mean to a young person looking to soar within their individuality in every aspect of life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A delightful local cast steps in for this one, with Romelo Urbi taking on the title role, and the entire production is led by director Alex Kirschner. Fittingly, the show’s opening night coincides with the annual start to Pride month across the nation. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957684/best-plays-musicals-theatre-bay-area-summer-2024","authors":["11905"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1237","arts_22148","arts_10278","arts_2020","arts_21781","arts_22150","arts_2323"],"featImg":"arts_13957710","label":"source_arts_13957684"},"arts_13957691":{"type":"posts","id":"arts_13957691","meta":{"index":"posts_1591205157","site":"arts","id":"13957691","found":true},"guestAuthors":[],"slug":"mosquito-lady-short-film-kristine-gerolaga-caamfest","title":"‘Mosquito Lady’ Shows the Horror of Losing Reproductive Freedom","publishDate":1715635218,"format":"aside","headTitle":"‘Mosquito Lady’ Shows the Horror of Losing Reproductive Freedom | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13957695\" class=\"wp-caption aligncenter\" style=\"max-width: 3584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957695\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01.png\" alt=\"A still from 'Mosquito Lady' showing the main character with a look of terror on her face in a dimly lit room.\" width=\"3584\" height=\"1497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01.png 3584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-800x334.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1020x426.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1536x642.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-2048x855.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1920x802.png 1920w\" sizes=\"(max-width: 3584px) 100vw, 3584px\">\u003cfigcaption class=\"wp-caption-text\">Hanna Lorica stars in ‘Mosquito Lady’ as Gemma, a pregnant teenager who turns to a mysterious neighbor for help. \u003ccite>(Kristine Gerolaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imagine being a teenager with a belly bump the size of a basketball, barely hidden underneath a baggy shirt. Google searches for an escape from motherhood feel like dead ends, and no one else your age knows any better.\u003c/p>\n\u003cp>Vallejo-bred actress and filmmaker \u003ca href=\"https://www.kristinegerolaga.com/\">Kristine Gerolaga\u003c/a>’s latest horror film, \u003ca href=\"https://www.kristinegerolaga.com/mosquitolady\">\u003cem>Mosquito Lady\u003c/em>\u003c/a>, follows a pregnant girl named Gemma who, in lieu of parental support, turns to the creepy neighbor they warned her about — even if that means her life’s on the line.\u003c/p>\n\u003cp>This short film is nothing like \u003cem>Juno\u003c/em>. \u003ca href=\"https://caamfest.com/2024/movies/mosquito-lady/\">Screening May 18 at CAAMFest\u003c/a>, \u003cem>Mosquito Lady\u003c/em> dives into topics like bodily autonomy and reproductive rights, and builds a sense of true dread with a twist from Filipino folklore.\u003c/p>\n\u003cp>https://vimeo.com/866459770\u003c/p>\n\u003cp>The film’s mythological element takes the shape of the manananggal, a baby-eating, vampire-esque monster with wings. “Sightings” have been reported in provincial regions of the Philippines. Its kryptonite? Sunlight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sure, there’s terror in a blood-sucking, flying woman with no legs, but the cryptic fear in \u003cem>Mosquito Lady\u003c/em> lurks between what’s said and what isn’t. In Gemma’s case, that stems from being an overwhelmed kid without guidance or resources — plus the shackles of familial expectations to keep things under wraps and not end up like cousin so-and-so.\u003c/p>\n\u003cfigure id=\"attachment_13957696\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957696\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Kristine Gerolaga. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without access to reproductive care, Gemma visits the manananggal’s house and, to no surprise, finds some truth to the eerie stories.\u003c/p>\n\u003cp>Gerolaga’s idea for the short film sparked around 2016, when 18 states adopted new abortion restrictions. In 2022, Roe v. Wade was overturned, ending federal abortion rights altogether. (California, Hawaii and Illinois are \u003ca href=\"https://www.usnews.com/news/best-states/articles/a-guide-to-abortion-laws-by-state\">among the states\u003c/a> that still allow abortions until fetal viability, or until a fetus can live on its own outside of the uterus.)\u003c/p>\n\u003cp>Currently, only 39 states \u003ca href=\"https://www.plannedparenthood.org/learn/for-educators/whats-state-sex-education-us\">mandate some form of sexual education\u003c/a> in the school curriculum. Personally, I couldn’t tell you what we learned in what was probably a one-day workshop when I was in school over a decade ago.\u003c/p>\n\u003cp>For Gerolaga, it was the same story. “The way we were taught about sexual health and our bodies, it was limited to, ‘Don’t have sex,’” Gerolaga says. “‘If you do — if you get pregnant — we’re gonna kick you out.’ You know, like, your life is over.”\u003c/p>\n\u003cp>She continues, “I tried to put into \u003cem>Mosquito Lady\u003c/em>, you know, as loving as my family is and as supportive as they are, it made me realize what it must have been like for them to grow up as well with expectations placed on them by their own parents — and their parents and their parents. And how it’s just been an ongoing cycle.”\u003c/p>\n\u003cp>In the film, Gemma, played by Bay Area local Hanna Lorica, sits across her parents like a child on timeout. The scene cuts between close-up shots of Gemma’s anxious reactions and her point of view. The sound design is so on point that the viewer vividly experiences her fear — holding your breath in hopes that the chaos will die down if you wait long enough.\u003c/p>\n\u003cfigure id=\"attachment_13957697\" class=\"wp-caption aligncenter\" style=\"max-width: 3584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957697\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02.png\" alt=\"\" width=\"3584\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02.png 3584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-800x335.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1020x427.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1536x642.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-2048x857.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1920x803.png 1920w\" sizes=\"(max-width: 3584px) 100vw, 3584px\">\u003cfigcaption class=\"wp-caption-text\">The manananggal, a blood-sucking creature from Filipino folklore, isn’t the only terrifying thing about ‘Mosquito Lady.’ \u003ccite>(Kristine Gerolaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As an adult now, [I’m] thinking back to those times of just how ashamed and scared I was,” reflects Gerolaga, “of being a girl, being someone who could get pregnant, being someone who could be blamed for getting pregnant… and just having to deal with that at a young age and the consequences of those things.” [aside postid='arts_13957410']\u003c/p>\n\u003cp>Looking towards the future, she continues, “We’re now of the age that we’re having kids, right? Our generation. I hope it does make us think about how we’re going to talk to our own kids about their bodies, their sexual health, their sexuality, their rights. And maybe break that cycle of shame, right?”\u003c/p>\n\u003cp>In addition to Mosquito\u003cem> Lady \u003c/em>— which premiered at Beyond Fest 2023 and won Best Effects at Brooklyn Horror Film Festival — Gerolaga has written and directed a variety of projects, including her short film \u003cem>Concealer\u003c/em> and a micro-series titled \u003ca href=\"https://www.youtube.com/@krimstine8835\">@starringkristine on YouTube\u003c/a>. She’s now developing her debut feature film, \u003cem>LAMOK\u003c/em>, with support from Sundance Institute’s Screenwriters Lab and Horror Fellowship. [aside postid='arts_13957514']\u003c/p>\n\u003cp>Her biggest takeaway from bringing her vision for \u003cem>Mosquito Lady\u003c/em> to life? Gerolaga says, “We deserve to be healthy and happy — and understand our bodies.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>As part of this year’s \u003ca href=\"https://caamfest.com/2024/\">CAAMFest\u003c/a>, ‘Mosquito Lady’ will have its Bay Area premiere on May 18 at San Francisco’s Roxie Theater. \u003ca href=\"https://caamfest.com/2024/movies/mosquito-lady/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The short film, screening at CAAMFest, tells a story of a teen pregnancy — with a twist from Filipino folklore. ","status":"publish","parent":0,"modified":1715635218,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":860},"headData":{"title":"‘Mosquito Lady’ Shows the Horror of Losing Reproductive Freedom | KQED","description":"The short film, screening at CAAMFest, tells a story of a teen pregnancy — with a twist from Filipino folklore. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Mosquito Lady’ Shows the Horror of Losing Reproductive Freedom","datePublished":"2024-05-13T21:20:18.000Z","dateModified":"2024-05-13T21:20:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Amyra Soriano","nprStoryId":"kqed-13957691","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13957691/mosquito-lady-short-film-kristine-gerolaga-caamfest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957695\" class=\"wp-caption aligncenter\" style=\"max-width: 3584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957695\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01.png\" alt=\"A still from 'Mosquito Lady' showing the main character with a look of terror on her face in a dimly lit room.\" width=\"3584\" height=\"1497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01.png 3584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-800x334.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1020x426.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1536x642.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-2048x855.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1920x802.png 1920w\" sizes=\"(max-width: 3584px) 100vw, 3584px\">\u003cfigcaption class=\"wp-caption-text\">Hanna Lorica stars in ‘Mosquito Lady’ as Gemma, a pregnant teenager who turns to a mysterious neighbor for help. \u003ccite>(Kristine Gerolaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imagine being a teenager with a belly bump the size of a basketball, barely hidden underneath a baggy shirt. Google searches for an escape from motherhood feel like dead ends, and no one else your age knows any better.\u003c/p>\n\u003cp>Vallejo-bred actress and filmmaker \u003ca href=\"https://www.kristinegerolaga.com/\">Kristine Gerolaga\u003c/a>’s latest horror film, \u003ca href=\"https://www.kristinegerolaga.com/mosquitolady\">\u003cem>Mosquito Lady\u003c/em>\u003c/a>, follows a pregnant girl named Gemma who, in lieu of parental support, turns to the creepy neighbor they warned her about — even if that means her life’s on the line.\u003c/p>\n\u003cp>This short film is nothing like \u003cem>Juno\u003c/em>. \u003ca href=\"https://caamfest.com/2024/movies/mosquito-lady/\">Screening May 18 at CAAMFest\u003c/a>, \u003cem>Mosquito Lady\u003c/em> dives into topics like bodily autonomy and reproductive rights, and builds a sense of true dread with a twist from Filipino folklore.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"866459770"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The film’s mythological element takes the shape of the manananggal, a baby-eating, vampire-esque monster with wings. “Sightings” have been reported in provincial regions of the Philippines. Its kryptonite? Sunlight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sure, there’s terror in a blood-sucking, flying woman with no legs, but the cryptic fear in \u003cem>Mosquito Lady\u003c/em> lurks between what’s said and what isn’t. In Gemma’s case, that stems from being an overwhelmed kid without guidance or resources — plus the shackles of familial expectations to keep things under wraps and not end up like cousin so-and-so.\u003c/p>\n\u003cfigure id=\"attachment_13957696\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957696\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Kristine Gerolaga. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without access to reproductive care, Gemma visits the manananggal’s house and, to no surprise, finds some truth to the eerie stories.\u003c/p>\n\u003cp>Gerolaga’s idea for the short film sparked around 2016, when 18 states adopted new abortion restrictions. In 2022, Roe v. Wade was overturned, ending federal abortion rights altogether. (California, Hawaii and Illinois are \u003ca href=\"https://www.usnews.com/news/best-states/articles/a-guide-to-abortion-laws-by-state\">among the states\u003c/a> that still allow abortions until fetal viability, or until a fetus can live on its own outside of the uterus.)\u003c/p>\n\u003cp>Currently, only 39 states \u003ca href=\"https://www.plannedparenthood.org/learn/for-educators/whats-state-sex-education-us\">mandate some form of sexual education\u003c/a> in the school curriculum. Personally, I couldn’t tell you what we learned in what was probably a one-day workshop when I was in school over a decade ago.\u003c/p>\n\u003cp>For Gerolaga, it was the same story. “The way we were taught about sexual health and our bodies, it was limited to, ‘Don’t have sex,’” Gerolaga says. “‘If you do — if you get pregnant — we’re gonna kick you out.’ You know, like, your life is over.”\u003c/p>\n\u003cp>She continues, “I tried to put into \u003cem>Mosquito Lady\u003c/em>, you know, as loving as my family is and as supportive as they are, it made me realize what it must have been like for them to grow up as well with expectations placed on them by their own parents — and their parents and their parents. And how it’s just been an ongoing cycle.”\u003c/p>\n\u003cp>In the film, Gemma, played by Bay Area local Hanna Lorica, sits across her parents like a child on timeout. The scene cuts between close-up shots of Gemma’s anxious reactions and her point of view. The sound design is so on point that the viewer vividly experiences her fear — holding your breath in hopes that the chaos will die down if you wait long enough.\u003c/p>\n\u003cfigure id=\"attachment_13957697\" class=\"wp-caption aligncenter\" style=\"max-width: 3584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957697\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02.png\" alt=\"\" width=\"3584\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02.png 3584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-800x335.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1020x427.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1536x642.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-2048x857.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1920x803.png 1920w\" sizes=\"(max-width: 3584px) 100vw, 3584px\">\u003cfigcaption class=\"wp-caption-text\">The manananggal, a blood-sucking creature from Filipino folklore, isn’t the only terrifying thing about ‘Mosquito Lady.’ \u003ccite>(Kristine Gerolaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As an adult now, [I’m] thinking back to those times of just how ashamed and scared I was,” reflects Gerolaga, “of being a girl, being someone who could get pregnant, being someone who could be blamed for getting pregnant… and just having to deal with that at a young age and the consequences of those things.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957410","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking towards the future, she continues, “We’re now of the age that we’re having kids, right? Our generation. I hope it does make us think about how we’re going to talk to our own kids about their bodies, their sexual health, their sexuality, their rights. And maybe break that cycle of shame, right?”\u003c/p>\n\u003cp>In addition to Mosquito\u003cem> Lady \u003c/em>— which premiered at Beyond Fest 2023 and won Best Effects at Brooklyn Horror Film Festival — Gerolaga has written and directed a variety of projects, including her short film \u003cem>Concealer\u003c/em> and a micro-series titled \u003ca href=\"https://www.youtube.com/@krimstine8835\">@starringkristine on YouTube\u003c/a>. She’s now developing her debut feature film, \u003cem>LAMOK\u003c/em>, with support from Sundance Institute’s Screenwriters Lab and Horror Fellowship. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957514","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her biggest takeaway from bringing her vision for \u003cem>Mosquito Lady\u003c/em> to life? Gerolaga says, “We deserve to be healthy and happy — and understand our bodies.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>As part of this year’s \u003ca href=\"https://caamfest.com/2024/\">CAAMFest\u003c/a>, ‘Mosquito Lady’ will have its Bay Area premiere on May 18 at San Francisco’s Roxie Theater. \u003ca href=\"https://caamfest.com/2024/movies/mosquito-lady/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957691/mosquito-lady-short-film-kristine-gerolaga-caamfest","authors":["byline_arts_13957691"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_4762","arts_10278","arts_585"],"featImg":"arts_13957694","label":"arts_140"},"arts_13956635":{"type":"posts","id":"arts_13956635","meta":{"index":"posts_1591205157","site":"arts","id":"13956635","found":true},"guestAuthors":[],"slug":"bay-area-whale-watching-beekeeping-petting-zoo-horse-riding-goat-yoga","title":"8 Bay Area Animal Adventures to Make Your Summer More Wild","publishDate":1715702418,"format":"standard","headTitle":"8 Bay Area Animal Adventures to Make Your Summer More Wild | KQED","labelTerm":{},"content":"\u003cp>When it comes to the great outdoors, there are two kinds of humans: those who can get lost in the scenery, and those that are there purely to catch a glimpse of the beautiful animals in our midst.\u003c/p>\n\u003cp>For those in the latter camp, here are the best Bay Area activities to get outdoors and see something a little wild this summer.\u003c/p>\n\u003cfigure id=\"attachment_13956885\" class=\"wp-caption aligncenter\" style=\"max-width: 1368px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956885\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2.jpg\" alt=\"The front half of a whale's body emerges from water as a boat carrying passengers watches from a short distance.\" width=\"1368\" height=\"914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2-768x513.jpg 768w\" sizes=\"(max-width: 1368px) 100vw, 1368px\">\u003cfigcaption class=\"wp-caption-text\">Humpback whales are very active in San Francisco Bay during the summer months. \u003ccite>(Photo by Michael Pierson; Courtesy of San Francisco Whale Tours)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Whale watching\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://sanfranciscowhaletours.com/whale-watching/golden-gate-whale-watch/\">San Francisco Whale Tours\u003c/a>\u003c/em>\u003cbr>\n\u003cem>Pier 39, San Francisco\u003c/em>\u003c/p>\n\u003cp>After spending the winter mating and calving off the coast of Mexico, humpback whales spend their summers in the San Francisco Bay. A great way to see these majestic mammals is to catch a ride with San Francisco Whale Tours. Every day, at noon and 3 p.m., the catamaran Kitty Kat sets sail from Pier 39 for a 2.5-hour tour that might also include sightings of harbor seals, dolphins and porpoises, plus a wide variety of sea bird colonies.\u003c/p>\n\u003cp>“Every tour is a unique experience,” Kat Nazar, owner of San Francisco Whale Tours, told KQED Arts. “Many times we have intel from vessel traffic control that will tell us where other boaters have reported sightings around the bay so we head to that area. Other times we head out blind, generally towards the Golden Gate Bridge. We find whales on about 90% of our tours.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And if you don’t see a whale on your tour? San Francisco Whale Tours will take you back out on the water for free. You can’t lose!\u003c/p>\n\u003cfigure id=\"attachment_13957307\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957307\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148681554-scaled-e1715035097581.jpg\" alt=\"Three rabbit lie snuggled close together in a pen.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Who wouldn’t want a ‘Rabbit Rendezvous’? \u003ccite>(Massimo Insabato/Archivio Massimo Insabato/ Mondadori Portfolio via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Learning about farmyard friends\u003c/h2>\n\u003cp>\u003ca href=\"https://www.ebparks.org/parks/visitor-centers/ardenwood\">\u003cem>Ardenwood Historic Farm\u003c/em>\u003c/a>\u003cbr>\n\u003cem>34600 Ardenwood Blvd., Fremont\u003c/em>\u003c/p>\n\u003cp>Throughout the summer, kids (and their adults) can get up close to rabbits, poultry and goats at the visitor center of Ardenwood Historic Farm. Dedicated weekend events include “Rabbit Rendezvous,” “Meet the Chickens” and “Farmyard Story Time.” On select Sunday mornings, “Wake Up the Farm” gives kids the opportunity to meet sheep and goats and take part in feeding them. Plus, for children fascinated by creepy crawlies, “Garden Bug Safari” is a must-try, getting kids to look closer at the miniature worlds at their feet.\u003c/p>\n\u003cp>Ardenwood is dedicated to education, so short classes about bees, cows and other living things are also on offer. They offer a wholesome day that’s great for animal lovers of all ages — even if you’re pretending it’s just for the little ones.\u003c/p>\n\u003cfigure id=\"attachment_13957386\" class=\"wp-caption aligncenter\" style=\"max-width: 1444px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM.png\" alt=\"An adult giraffe leans down and licks the ear of its smaller offspring.\" width=\"1444\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM.png 1444w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM-768x500.png 768w\" sizes=\"(max-width: 1444px) 100vw, 1444px\">\u003cfigcaption class=\"wp-caption-text\">Two of Safari West’s resident giraffes. \u003ccite>(Sarah Jane Tarr/ Safari West)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Going on safari\u003c/h2>\n\u003cp>\u003ca href=\"https://safariwest.com/\">\u003cem>Safari West\u003c/em>\u003c/a>\u003cbr>\n\u003cem>3115 Porter Creek Rd., Santa Rosa\u003c/em>\u003c/p>\n\u003cp>If you’ve always wanted to go on safari, the destination you have in mind is probably very much \u003cem>not\u003c/em> Santa Rosa. However, Safari West’s 400 acres and 900 animals work hard to bring the Serengeti to Sonoma County. Here, you can see giraffes, gazelles, hyenas, zebras and a \u003ca href=\"https://safariwest.com/wildlife/\">variety of other fascinating creatures\u003c/a> from the back or top of customized open-sided vehicles under the guidance of the park’s researchers and conservationists.\u003c/p>\n\u003cp>Even better? The wildlife park offers a range of special events and \u003ca href=\"https://safariwest.com/plan-your-visit/behind-the-scenes/\">behind the scenes\u003c/a> experiences to get you in touch with your own wild side. The truly committed can \u003ca href=\"https://safariwest.com/plan-your-visit/spend-the-night/\">stay in a luxury tent overnight\u003c/a> on the property, but day-trippers can sign up for special small-group experiences with the on-site rhinos, cheetahs and other animals. Hot tip for those visiting in adults-only groups: Safari West also hosts safari experiences that double as wine and beer tastings.\u003c/p>\n\u003cfigure id=\"attachment_13957332\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM.png\" alt=\"A line of riders on horses walk down a beach in line.\" width=\"1200\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM-768x503.png 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ocean View Stables offers horseback riding for beginners. \u003ccite>(Courtesy of Ocean View Stables)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Horseback riding\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.oceanviewstables.com/\">Ocean View Stables\u003c/a>\u003c/em>\u003cbr>\n\u003cem>2152 Olympic Way, Daly City\u003c/em>\u003c/p>\n\u003cp>If you’ve recently lapsed into fullblown, Beyoncé-inspired \u003cem>Cowboy Carter\u003c/em> fantasies, Ocean View Stables is here to make all your horsey, trail-riding dreams come true. Whether you’re a beginner or already have some horseback experience, this Daly City stable has multiple options to make sure you get to ride ’em (cowboy) this summer. Probably the greatest summer option is an introductory lesson followed by a relaxing one-hour group ride on the beach.\u003c/p>\n\u003cp>If horses aren’t for you, but you’d like to turn the kids into young equestrians, there are also quick pony rides for the littles and a week-long horseback summer camp for children aged eight to 17.\u003c/p>\n\u003cfigure id=\"attachment_13957018\" class=\"wp-caption aligncenter\" style=\"max-width: 1634px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957018\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM.png\" alt=\"A shorn sheep stands on a yoga mat with humans sat on the ground next to her.\" width=\"1634\" height=\"1076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM.png 1634w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM-1020x672.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM-1536x1011.png 1536w\" sizes=\"(max-width: 1634px) 100vw, 1634px\">\u003cfigcaption class=\"wp-caption-text\">Sheep meditation and goat yoga are both on offer from Charlie’s Acres this summer. \u003ccite>(Courtesy of Charlie's Acres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Meditating with sheep\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.charliesacres.org/\">Charlie’s Acres Farm Animal Sanctuary\u003c/a>\u003c/em>\u003cbr>\n\u003cem>3201 Napa Rd., Sonoma\u003c/em>\u003c/p>\n\u003cp>Meeting farm animals is fantastic, but have you ever tried \u003ca href=\"https://fareharbor.com/embeds/book/charliesacres/items/369712/calendar/2024/05/?flow=765589&full-items=yes\">meditating with sheep\u003c/a>? The animal lovers of Charlie’s Acres want to give you the opportunity to try both this summer. And, if you love those activities, why not sign up for some \u003ca href=\"https://fareharbor.com/embeds/book/charliesacres/items/369683/calendar/2024/05/?flow=765589&full-items=yes\">goat yoga\u003c/a> while you’re at it?\u003c/p>\n\u003cp>Since 2016, Charlie’s Acres founder Tracy Vogt has been introducing the public to her menagerie of rescued farm animals in ever more creative ways. All year round, the non-profit offers farm tours, photoshoot opportunities, plant-based picnics and yes, sheep meditation and goat yoga. On June 21, 2024 though, everything is combining into one very \u003ca href=\"https://fareharbor.com/embeds/book/charliesacres/items/538954/calendar/2024/06/?flow=717046&full-items=yes\">special retreat\u003c/a> to coincide with the summer solstice.\u003c/p>\n\u003cp>“Sheep meditation is a really lovely experience,” Sanctuary director Kaleigh Rhoads told KQED Arts. “We work with instructors who use a collection of crystal singing bowls along with their meditation. It’s a great opportunity to have a peaceful experience with typically shy animals.”\u003c/p>\n\u003cp>As for the yoga, Charlie’s Acres goats are adults, so they don’t jump on class participants. “They just love having visitors,” Rhoads explained. “It’s pretty silly and definitely more about the goats than yoga.”\u003c/p>\n\u003cfigure id=\"attachment_13957331\" class=\"wp-caption aligncenter\" style=\"max-width: 1876px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957331\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals.jpeg\" alt=\"A black seal pup and a white seal pup nap on a floating platform.\" width=\"1876\" height=\"1229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals.jpeg 1876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals-800x524.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals-1020x668.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals-768x503.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals-1536x1006.jpeg 1536w\" sizes=\"(max-width: 1876px) 100vw, 1876px\">\u003cfigcaption class=\"wp-caption-text\">Two young seals sun themselves on Sea Trek’s dock in Sausalito. \u003ccite>(Courtesy of Laura Zulliger, Sea Trek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kayaking with seals\u003c/h2>\n\u003cp>\u003cem>Sea Trek\u003c/em>\u003cbr>\n\u003cem>1120 Ballena Blvd., Suite 200, \u003ca href=\"https://www.seatrek.com/alameda-location/\">Alameda\u003c/a>\u003cbr>\n2100 Bridgeway, \u003ca href=\"https://www.seatrek.com/\">Sausalito\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Sea Trek, a kayak rental and excursion company, is so perfectly positioned to see Bay Area wildlife, it’s not unusual for employees to show up to work and find newborns on their Sausalito dock.\u003c/p>\n\u003cp>“The seal pups are not only super cute, but you can see them learning with their moms how to do basic things, like wiggle up on the dock and nurse,” Sea Trek kayaking instructor Laura Zulliger noted. “You can see the baby seals being cute and curious all throughout the summer.”\u003c/p>\n\u003cp>Sea Trek offers guided scenic tours from its \u003ca href=\"https://www.seatrek.com/tours-sausalito/#guided-tours\">Sausalito\u003c/a> and \u003ca href=\"https://www.seatrek.com/tours-alameda/#guided-tours\">Alameda\u003c/a> locations, both of which explore local sea and wildlife along the 2.5-hour paddle. During June, July and August, however, there are additional, summer-specific tours from both locations. Special Sausalito outings include monthly \u003ca href=\"https://www.seatrek.com/tours-sausalito/#guided-tours\">Angel Island Crossing\u003c/a> tours and bi-monthly \u003ca href=\"https://www.seatrek.com/tours-sausalito/#guided-tours\">Golden Gate Tours\u003c/a>. Both take kayakers in search of sea lions, porpoises, whales, birds and other wildlife. From Alameda, a \u003ca href=\"https://www.seatrek.com/trips/sausalito-take-the-kids-kayak-tour/\">kid-friendly outing\u003c/a> is paired with a fun and interactive trip to \u003ca href=\"https://www.ebparks.org/parks/visitor-centers/crab-cove\">Crab Cove’s Visitor Center\u003c/a>, while adult-specific scenic tours end in a visit to a \u003ca href=\"https://www.alamedaca.gov/RESIDENTS/Visiting-Alameda/Attractions-in-Alameda/Spirits-Alley\">Spirits Alley\u003c/a> brewery.\u003c/p>\n\u003cp>Sea Trek is dedicated to treating all wildlife and ecologies in the Bay with respect, while making their guided tours as fun and educational as possible. “We want to instill in paddlers that we need to give these animals space for their survival,” Zulliger emphasized.\u003c/p>\n\u003cfigure id=\"attachment_13957380\" class=\"wp-caption aligncenter\" style=\"max-width: 1648px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957380\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM.png\" alt=\"A group of people in beekeeping suits gather around a hive, as one beekeeper holds up part of a hive.\" width=\"1648\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM.png 1648w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM-1536x988.png 1536w\" sizes=\"(max-width: 1648px) 100vw, 1648px\">\u003cfigcaption class=\"wp-caption-text\">Students get a beekeeping 101 from the owner of San Francisco Honey & Pollen Company. \u003ccite>(Courtesy of San Francisco Honey & Pollen Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Beekeeping\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfhoneyandpollen.com/\">San Francisco Honey & Pollen Company\u003c/a>\u003c/em>\u003cbr>\n\u003cem>1176 Shafter Ave., San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco’s Bayview is probably not the first destination folks have in mind when they think about getting in touch with wildlife. But on select weekends this summer, lifelong beekeeper Christina McDonald will be teaching beginners how to start beekeeping in their own backyards.\u003c/p>\n\u003cp>McDonald’s dad started beekeeping in the city 20 years ago, teaching her how to build and maintain hive boxes throughout her childhood. Her \u003ca href=\"https://www.sfhoneyandpollen.com/classes/beginner-beekeeping/\">Introduction to Beekeeping\u003c/a> class gives visitors an insight into the importance of bees in our local environment and then assists them in exploring some of SF Honey & Pollen Co.’s apiaries. After hands-on training, each course culminates in a honey and pollen tasting session.\u003c/p>\n\u003cp>If the beginner class gives you the bug, you can return for McDonald’s \u003ca href=\"https://www.sfhoneyandpollen.com/classes/advanced-beekeeping/\">advanced class\u003c/a>, where students learn how to extract honey from the hive and bottle it.\u003c/p>\n\u003ch2>Birdwatching\u003c/h2>\n\u003cfigure id=\"attachment_13957393\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957393\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1347414026-scaled-e1715123503905.jpg\" alt=\"A medium sized blue and white bird sits on a bare tree branch.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">A California Scrub-Jay — just one of the 414 species of birds spotted in Santa Clara County. \u003ccite>(Dukas/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://scvas.org/\">\u003cem>Santa Clara Valley Audubon Society\u003c/em>\u003c/a>\u003cbr>\n\u003cem>22221 McClellan Rd., Cupertino\u003c/em>\u003c/p>\n\u003cp>The members of the Santa Clara Valley Audubon Society just want you to love birds as much as they do, so they offer a huge range of free resources to make that happen. The SCVAS website walks you through \u003ca href=\"https://scvas.org/self-guided-field-trips\">self-guided birding outings\u003c/a>, categorized by area and season, but also offers regular (and frequently free) group excursions.\u003c/p>\n\u003cp>This summer, SCVAS outings are planned in \u003ca href=\"https://scvas.org/event-calendar/field-trip-sanborn-county-park-main-entrance-2-594tc\">Saratoga\u003c/a>, \u003ca href=\"https://scvas.org/event-calendar/field-trip-charleston-slough-mountain-view\">Mountain View\u003c/a>, \u003ca href=\"https://scvas.org/event-calendar/field-trip-lunchtime-birding-at-sunnyvale-water-pollution-control-plant-2-j36ts-d5y9a-z767y\">Sunnyvale\u003c/a>, \u003ca href=\"https://scvas.org/event-calendar/field-trip-stanford-arboretum-and-cactus-garden-3-ybs3p\">Stanford\u003c/a> and even the \u003ca href=\"https://scvas.org/event-calendar/farallon-islands-pelagic-trip\">Farallon Islands\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On June 15, in a special celebration for Pride Month, the bird-lovers are also hosting a \u003cem>Queers of a Feather\u003c/em> field trip: a bird outing specifically for LGBTQ+ folks. \u003cem>Queers of a Feather\u003c/em> will be co-hosted by the \u003ca href=\"https://openspacetrust.org/\">Peninsula Open Space Trust\u003c/a>. That’s fitting, given that POST is hosting an online event on June 5 titled \u003ca href=\"https://openspacetrust.org/event/queer-is-natural-online-event/\">\u003cem>Queer Is Natural\u003c/em>\u003c/a>, which will explore queerness in nature. Clearly everyone involved heartily believes in flocking together.\u003c/p>\n\n","blocks":[],"excerpt":"In search of wildlife this summer? Where to find whales, seals, farmyard friends and even meditative sheep.","status":"publish","parent":0,"modified":1715724732,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1679},"headData":{"title":"Where to Find Seals, Whales and Other Wildlife in the Bay Area | KQE","description":"In search of wildlife this summer? Where to find whales, seals, farmyard friends and even meditative sheep.","ogTitle":"Get Wild With Bay Area Animal Adventures This Summer","ogDescription":"","ogImgId":"","twTitle":"Get Wild With Bay Area Animal Adventures This Summer","twDescription":"","twImgId":"","socialTitle":"Where to Find Seals, Whales and Other Wildlife in the Bay Area%%page%% %%sep%% KQE","schema":{"@context":"http://schema.org","@type":"Article","headline":"8 Bay Area Animal Adventures to Make Your Summer More Wild","datePublished":"2024-05-14T16:00:18.000Z","dateModified":"2024-05-14T22:12:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"nprStoryId":"kqed-13956635","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956635/bay-area-whale-watching-beekeeping-petting-zoo-horse-riding-goat-yoga","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to the great outdoors, there are two kinds of humans: those who can get lost in the scenery, and those that are there purely to catch a glimpse of the beautiful animals in our midst.\u003c/p>\n\u003cp>For those in the latter camp, here are the best Bay Area activities to get outdoors and see something a little wild this summer.\u003c/p>\n\u003cfigure id=\"attachment_13956885\" class=\"wp-caption aligncenter\" style=\"max-width: 1368px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956885\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2.jpg\" alt=\"The front half of a whale's body emerges from water as a boat carrying passengers watches from a short distance.\" width=\"1368\" height=\"914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/image2-768x513.jpg 768w\" sizes=\"(max-width: 1368px) 100vw, 1368px\">\u003cfigcaption class=\"wp-caption-text\">Humpback whales are very active in San Francisco Bay during the summer months. \u003ccite>(Photo by Michael Pierson; Courtesy of San Francisco Whale Tours)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Whale watching\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://sanfranciscowhaletours.com/whale-watching/golden-gate-whale-watch/\">San Francisco Whale Tours\u003c/a>\u003c/em>\u003cbr>\n\u003cem>Pier 39, San Francisco\u003c/em>\u003c/p>\n\u003cp>After spending the winter mating and calving off the coast of Mexico, humpback whales spend their summers in the San Francisco Bay. A great way to see these majestic mammals is to catch a ride with San Francisco Whale Tours. Every day, at noon and 3 p.m., the catamaran Kitty Kat sets sail from Pier 39 for a 2.5-hour tour that might also include sightings of harbor seals, dolphins and porpoises, plus a wide variety of sea bird colonies.\u003c/p>\n\u003cp>“Every tour is a unique experience,” Kat Nazar, owner of San Francisco Whale Tours, told KQED Arts. “Many times we have intel from vessel traffic control that will tell us where other boaters have reported sightings around the bay so we head to that area. Other times we head out blind, generally towards the Golden Gate Bridge. We find whales on about 90% of our tours.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And if you don’t see a whale on your tour? San Francisco Whale Tours will take you back out on the water for free. You can’t lose!\u003c/p>\n\u003cfigure id=\"attachment_13957307\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957307\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148681554-scaled-e1715035097581.jpg\" alt=\"Three rabbit lie snuggled close together in a pen.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Who wouldn’t want a ‘Rabbit Rendezvous’? \u003ccite>(Massimo Insabato/Archivio Massimo Insabato/ Mondadori Portfolio via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Learning about farmyard friends\u003c/h2>\n\u003cp>\u003ca href=\"https://www.ebparks.org/parks/visitor-centers/ardenwood\">\u003cem>Ardenwood Historic Farm\u003c/em>\u003c/a>\u003cbr>\n\u003cem>34600 Ardenwood Blvd., Fremont\u003c/em>\u003c/p>\n\u003cp>Throughout the summer, kids (and their adults) can get up close to rabbits, poultry and goats at the visitor center of Ardenwood Historic Farm. Dedicated weekend events include “Rabbit Rendezvous,” “Meet the Chickens” and “Farmyard Story Time.” On select Sunday mornings, “Wake Up the Farm” gives kids the opportunity to meet sheep and goats and take part in feeding them. Plus, for children fascinated by creepy crawlies, “Garden Bug Safari” is a must-try, getting kids to look closer at the miniature worlds at their feet.\u003c/p>\n\u003cp>Ardenwood is dedicated to education, so short classes about bees, cows and other living things are also on offer. They offer a wholesome day that’s great for animal lovers of all ages — even if you’re pretending it’s just for the little ones.\u003c/p>\n\u003cfigure id=\"attachment_13957386\" class=\"wp-caption aligncenter\" style=\"max-width: 1444px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM.png\" alt=\"An adult giraffe leans down and licks the ear of its smaller offspring.\" width=\"1444\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM.png 1444w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.48.29-PM-768x500.png 768w\" sizes=\"(max-width: 1444px) 100vw, 1444px\">\u003cfigcaption class=\"wp-caption-text\">Two of Safari West’s resident giraffes. \u003ccite>(Sarah Jane Tarr/ Safari West)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Going on safari\u003c/h2>\n\u003cp>\u003ca href=\"https://safariwest.com/\">\u003cem>Safari West\u003c/em>\u003c/a>\u003cbr>\n\u003cem>3115 Porter Creek Rd., Santa Rosa\u003c/em>\u003c/p>\n\u003cp>If you’ve always wanted to go on safari, the destination you have in mind is probably very much \u003cem>not\u003c/em> Santa Rosa. However, Safari West’s 400 acres and 900 animals work hard to bring the Serengeti to Sonoma County. Here, you can see giraffes, gazelles, hyenas, zebras and a \u003ca href=\"https://safariwest.com/wildlife/\">variety of other fascinating creatures\u003c/a> from the back or top of customized open-sided vehicles under the guidance of the park’s researchers and conservationists.\u003c/p>\n\u003cp>Even better? The wildlife park offers a range of special events and \u003ca href=\"https://safariwest.com/plan-your-visit/behind-the-scenes/\">behind the scenes\u003c/a> experiences to get you in touch with your own wild side. The truly committed can \u003ca href=\"https://safariwest.com/plan-your-visit/spend-the-night/\">stay in a luxury tent overnight\u003c/a> on the property, but day-trippers can sign up for special small-group experiences with the on-site rhinos, cheetahs and other animals. Hot tip for those visiting in adults-only groups: Safari West also hosts safari experiences that double as wine and beer tastings.\u003c/p>\n\u003cfigure id=\"attachment_13957332\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM.png\" alt=\"A line of riders on horses walk down a beach in line.\" width=\"1200\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-06-at-11.29.57-PM-768x503.png 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ocean View Stables offers horseback riding for beginners. \u003ccite>(Courtesy of Ocean View Stables)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Horseback riding\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.oceanviewstables.com/\">Ocean View Stables\u003c/a>\u003c/em>\u003cbr>\n\u003cem>2152 Olympic Way, Daly City\u003c/em>\u003c/p>\n\u003cp>If you’ve recently lapsed into fullblown, Beyoncé-inspired \u003cem>Cowboy Carter\u003c/em> fantasies, Ocean View Stables is here to make all your horsey, trail-riding dreams come true. Whether you’re a beginner or already have some horseback experience, this Daly City stable has multiple options to make sure you get to ride ’em (cowboy) this summer. Probably the greatest summer option is an introductory lesson followed by a relaxing one-hour group ride on the beach.\u003c/p>\n\u003cp>If horses aren’t for you, but you’d like to turn the kids into young equestrians, there are also quick pony rides for the littles and a week-long horseback summer camp for children aged eight to 17.\u003c/p>\n\u003cfigure id=\"attachment_13957018\" class=\"wp-caption aligncenter\" style=\"max-width: 1634px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957018\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM.png\" alt=\"A shorn sheep stands on a yoga mat with humans sat on the ground next to her.\" width=\"1634\" height=\"1076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM.png 1634w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM-1020x672.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-5.01.35-PM-1536x1011.png 1536w\" sizes=\"(max-width: 1634px) 100vw, 1634px\">\u003cfigcaption class=\"wp-caption-text\">Sheep meditation and goat yoga are both on offer from Charlie’s Acres this summer. \u003ccite>(Courtesy of Charlie's Acres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Meditating with sheep\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.charliesacres.org/\">Charlie’s Acres Farm Animal Sanctuary\u003c/a>\u003c/em>\u003cbr>\n\u003cem>3201 Napa Rd., Sonoma\u003c/em>\u003c/p>\n\u003cp>Meeting farm animals is fantastic, but have you ever tried \u003ca href=\"https://fareharbor.com/embeds/book/charliesacres/items/369712/calendar/2024/05/?flow=765589&full-items=yes\">meditating with sheep\u003c/a>? The animal lovers of Charlie’s Acres want to give you the opportunity to try both this summer. And, if you love those activities, why not sign up for some \u003ca href=\"https://fareharbor.com/embeds/book/charliesacres/items/369683/calendar/2024/05/?flow=765589&full-items=yes\">goat yoga\u003c/a> while you’re at it?\u003c/p>\n\u003cp>Since 2016, Charlie’s Acres founder Tracy Vogt has been introducing the public to her menagerie of rescued farm animals in ever more creative ways. All year round, the non-profit offers farm tours, photoshoot opportunities, plant-based picnics and yes, sheep meditation and goat yoga. On June 21, 2024 though, everything is combining into one very \u003ca href=\"https://fareharbor.com/embeds/book/charliesacres/items/538954/calendar/2024/06/?flow=717046&full-items=yes\">special retreat\u003c/a> to coincide with the summer solstice.\u003c/p>\n\u003cp>“Sheep meditation is a really lovely experience,” Sanctuary director Kaleigh Rhoads told KQED Arts. “We work with instructors who use a collection of crystal singing bowls along with their meditation. It’s a great opportunity to have a peaceful experience with typically shy animals.”\u003c/p>\n\u003cp>As for the yoga, Charlie’s Acres goats are adults, so they don’t jump on class participants. “They just love having visitors,” Rhoads explained. “It’s pretty silly and definitely more about the goats than yoga.”\u003c/p>\n\u003cfigure id=\"attachment_13957331\" class=\"wp-caption aligncenter\" style=\"max-width: 1876px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957331\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals.jpeg\" alt=\"A black seal pup and a white seal pup nap on a floating platform.\" width=\"1876\" height=\"1229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals.jpeg 1876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals-800x524.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals-1020x668.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals-768x503.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seals-1536x1006.jpeg 1536w\" sizes=\"(max-width: 1876px) 100vw, 1876px\">\u003cfigcaption class=\"wp-caption-text\">Two young seals sun themselves on Sea Trek’s dock in Sausalito. \u003ccite>(Courtesy of Laura Zulliger, Sea Trek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kayaking with seals\u003c/h2>\n\u003cp>\u003cem>Sea Trek\u003c/em>\u003cbr>\n\u003cem>1120 Ballena Blvd., Suite 200, \u003ca href=\"https://www.seatrek.com/alameda-location/\">Alameda\u003c/a>\u003cbr>\n2100 Bridgeway, \u003ca href=\"https://www.seatrek.com/\">Sausalito\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Sea Trek, a kayak rental and excursion company, is so perfectly positioned to see Bay Area wildlife, it’s not unusual for employees to show up to work and find newborns on their Sausalito dock.\u003c/p>\n\u003cp>“The seal pups are not only super cute, but you can see them learning with their moms how to do basic things, like wiggle up on the dock and nurse,” Sea Trek kayaking instructor Laura Zulliger noted. “You can see the baby seals being cute and curious all throughout the summer.”\u003c/p>\n\u003cp>Sea Trek offers guided scenic tours from its \u003ca href=\"https://www.seatrek.com/tours-sausalito/#guided-tours\">Sausalito\u003c/a> and \u003ca href=\"https://www.seatrek.com/tours-alameda/#guided-tours\">Alameda\u003c/a> locations, both of which explore local sea and wildlife along the 2.5-hour paddle. During June, July and August, however, there are additional, summer-specific tours from both locations. Special Sausalito outings include monthly \u003ca href=\"https://www.seatrek.com/tours-sausalito/#guided-tours\">Angel Island Crossing\u003c/a> tours and bi-monthly \u003ca href=\"https://www.seatrek.com/tours-sausalito/#guided-tours\">Golden Gate Tours\u003c/a>. Both take kayakers in search of sea lions, porpoises, whales, birds and other wildlife. From Alameda, a \u003ca href=\"https://www.seatrek.com/trips/sausalito-take-the-kids-kayak-tour/\">kid-friendly outing\u003c/a> is paired with a fun and interactive trip to \u003ca href=\"https://www.ebparks.org/parks/visitor-centers/crab-cove\">Crab Cove’s Visitor Center\u003c/a>, while adult-specific scenic tours end in a visit to a \u003ca href=\"https://www.alamedaca.gov/RESIDENTS/Visiting-Alameda/Attractions-in-Alameda/Spirits-Alley\">Spirits Alley\u003c/a> brewery.\u003c/p>\n\u003cp>Sea Trek is dedicated to treating all wildlife and ecologies in the Bay with respect, while making their guided tours as fun and educational as possible. “We want to instill in paddlers that we need to give these animals space for their survival,” Zulliger emphasized.\u003c/p>\n\u003cfigure id=\"attachment_13957380\" class=\"wp-caption aligncenter\" style=\"max-width: 1648px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957380\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM.png\" alt=\"A group of people in beekeeping suits gather around a hive, as one beekeeper holds up part of a hive.\" width=\"1648\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM.png 1648w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-07-at-12.26.05-PM-1536x988.png 1536w\" sizes=\"(max-width: 1648px) 100vw, 1648px\">\u003cfigcaption class=\"wp-caption-text\">Students get a beekeeping 101 from the owner of San Francisco Honey & Pollen Company. \u003ccite>(Courtesy of San Francisco Honey & Pollen Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Beekeeping\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfhoneyandpollen.com/\">San Francisco Honey & Pollen Company\u003c/a>\u003c/em>\u003cbr>\n\u003cem>1176 Shafter Ave., San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco’s Bayview is probably not the first destination folks have in mind when they think about getting in touch with wildlife. But on select weekends this summer, lifelong beekeeper Christina McDonald will be teaching beginners how to start beekeeping in their own backyards.\u003c/p>\n\u003cp>McDonald’s dad started beekeeping in the city 20 years ago, teaching her how to build and maintain hive boxes throughout her childhood. Her \u003ca href=\"https://www.sfhoneyandpollen.com/classes/beginner-beekeeping/\">Introduction to Beekeeping\u003c/a> class gives visitors an insight into the importance of bees in our local environment and then assists them in exploring some of SF Honey & Pollen Co.’s apiaries. After hands-on training, each course culminates in a honey and pollen tasting session.\u003c/p>\n\u003cp>If the beginner class gives you the bug, you can return for McDonald’s \u003ca href=\"https://www.sfhoneyandpollen.com/classes/advanced-beekeeping/\">advanced class\u003c/a>, where students learn how to extract honey from the hive and bottle it.\u003c/p>\n\u003ch2>Birdwatching\u003c/h2>\n\u003cfigure id=\"attachment_13957393\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957393\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1347414026-scaled-e1715123503905.jpg\" alt=\"A medium sized blue and white bird sits on a bare tree branch.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">A California Scrub-Jay — just one of the 414 species of birds spotted in Santa Clara County. \u003ccite>(Dukas/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://scvas.org/\">\u003cem>Santa Clara Valley Audubon Society\u003c/em>\u003c/a>\u003cbr>\n\u003cem>22221 McClellan Rd., Cupertino\u003c/em>\u003c/p>\n\u003cp>The members of the Santa Clara Valley Audubon Society just want you to love birds as much as they do, so they offer a huge range of free resources to make that happen. The SCVAS website walks you through \u003ca href=\"https://scvas.org/self-guided-field-trips\">self-guided birding outings\u003c/a>, categorized by area and season, but also offers regular (and frequently free) group excursions.\u003c/p>\n\u003cp>This summer, SCVAS outings are planned in \u003ca href=\"https://scvas.org/event-calendar/field-trip-sanborn-county-park-main-entrance-2-594tc\">Saratoga\u003c/a>, \u003ca href=\"https://scvas.org/event-calendar/field-trip-charleston-slough-mountain-view\">Mountain View\u003c/a>, \u003ca href=\"https://scvas.org/event-calendar/field-trip-lunchtime-birding-at-sunnyvale-water-pollution-control-plant-2-j36ts-d5y9a-z767y\">Sunnyvale\u003c/a>, \u003ca href=\"https://scvas.org/event-calendar/field-trip-stanford-arboretum-and-cactus-garden-3-ybs3p\">Stanford\u003c/a> and even the \u003ca href=\"https://scvas.org/event-calendar/farallon-islands-pelagic-trip\">Farallon Islands\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On June 15, in a special celebration for Pride Month, the bird-lovers are also hosting a \u003cem>Queers of a Feather\u003c/em> field trip: a bird outing specifically for LGBTQ+ folks. \u003cem>Queers of a Feather\u003c/em> will be co-hosted by the \u003ca href=\"https://openspacetrust.org/\">Peninsula Open Space Trust\u003c/a>. That’s fitting, given that POST is hosting an online event on June 5 titled \u003ca href=\"https://openspacetrust.org/event/queer-is-natural-online-event/\">\u003cem>Queer Is Natural\u003c/em>\u003c/a>, which will explore queerness in nature. Clearly everyone involved heartily believes in flocking together.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956635/bay-area-whale-watching-beekeeping-petting-zoo-horse-riding-goat-yoga","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_11615"],"tags":["arts_9124","arts_10278","arts_2832","arts_22150","arts_585","arts_5878"],"featImg":"arts_13957013","label":"source_arts_13956635"},"arts_13957410":{"type":"posts","id":"arts_13957410","meta":{"index":"posts_1591205157","site":"arts","id":"13957410","found":true},"guestAuthors":[],"slug":"visual-art-guide-summer-2024-galleries-museums","title":"Your Guide to This Summer’s Not-To-Miss Visual Art","publishDate":1715616033,"format":"aside","headTitle":"Your Guide to This Summer’s Not-To-Miss Visual Art | KQED","labelTerm":{},"content":"\u003cp>Every year, it’s a struggle to whittle this list down to a select few. There’s simply \u003ca href=\"https://docs.google.com/document/d/1EPuQY0pmQEolKP1764UwgB1sXGJw6oG72_rZL4D9nhk/edit#\">so much happening\u003c/a> in art spaces across the Bay Area. For 2024, I’ve plotted out an ideal summer, full of inventive gallery shows, exciting museum exhibitions and local artists getting the attention they deserve, all in venues spread across the region.\u003c/p>\n\u003cfigure id=\"attachment_13957411\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958.jpg\" alt=\"Black and white photograph of projected film of made-up monster face\" width=\"2000\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-1920x1330.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diane Arbus, ‘Frankenstein’s Daughter [close up with shoulders],’ 1958. \u003ccite>(© The Estate of Diane Arbus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://fraenkelgallery.com/exhibitions/fraenkenstein\">Fraenkenstein\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 30–Aug. 10, 2024\u003cbr>\nFraenkel Gallery, San Francisco\u003c/i>\u003c/p>\n\u003cp>Over 200 years after it was published, Mary Shelley’s \u003ci>Frankenstein\u003c/i> continues to genuinely thrill. The novel is gothic horror at its finest: a dark, visceral critique of relentless progress that also has sympathy for the unnamed “monster” at its center. Now, Fraenkel Gallery founder Jeffrey Fraenkel and curator and writer Jordan Stein have organized an “entirely improper and radically incomplete” show in response to the book, mounted through photographs, collage, sculpture, painting and film. Given Fraenkel and Stein’s last collaboration (the 2019 Cushion Works show \u003ci>\u003ca href=\"https://www.kqed.org/arts/13853272/fries-with-that-serves-up-darkly-humorous-photo-show-with-a-side-of-ketchup\">Fries With That…?\u003c/a>\u003c/i>) we can hope for plenty of deep cuts from the gallery’s impressive roster, canny sequencing and a hearty dose of play.\u003c/p>\n\u003cfigure id=\"attachment_13957416\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957416\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000.jpg\" alt=\"Abstract painting of diffuse, blurry dots with bright colors of pink, teal and yellow\" width=\"2000\" height=\"2499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-1020x1274.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-1639x2048.jpg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-1920x2399.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soleé Darrell, ‘Where have you been?’ 2024; Dye on silk velvet, 52 x 39 inches. \u003ccite>(Courtesy pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Soleé Darrell, ‘\u003ca href=\"https://www.part2gallery.com/blog/pressrelease/whereyou\">Where You Need To Be: Teleportation Studies\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 1–July 13, 2024\u003cbr>\npt.2 Gallery, Oakland\u003c/i>\u003c/p>\n\u003cp>In her latest series, \u003ca href=\"https://soleedarrell.art/\">Soleé Darrell\u003c/a> paints large-scale, washy abstractions on the curious material of silk velvet. That fuzzy, glamorous fabric has an inherent texture and sheen, but the Bay Area artist’s expressionistic application of rich jewel tones and fluorescent pinks hold their own. Part liquid light show, part psychedelic tie-dye, her paintings hint at patterns, only to diffuse out into streams and rivulets of pure color.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As an added treat, Christopher Robin Duncan (an artist whose work regularly lists the medium of “time”) opens \u003ci>\u003ca href=\"https://www.part2gallery.com/blog/pressrelease/thespace\">The Space Between Years\u003c/a>\u003c/i> at pt.2 at the same time — two cosmic, mind-expanding shows for the price of one gallery visit.\u003c/p>\n\u003cfigure id=\"attachment_13957415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957415\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill.jpg\" alt=\"Person with animal puppet on shoulder looks at computer in messy room\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Dirt Castle’ by Jibz Cameron a.k.a. Dynasty Handbag. \u003ccite>(Courtesy the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfartistsalumni.org/studio8filmfestival\">Studio 8 Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 14, 2024, 7–10 p.m. at \u003ca href=\"https://shop.shapeshifterscinema.com/product/studio-8-film-festival-opening-night-shorts-program/380\">Shapeshifters Cinema\u003c/a>, Oakland\u003cbr>\nJune 15, 2024, starting at 6 p.m. at the \u003ca href=\"https://www.balboamovies.com/calendar-of-events/san-francisco-artists-alumnis-studio-8-film-festival-angela-davis-walls-into-bridges-600-pm\">Balboa Theater\u003c/a>, San Francisco\u003cbr>\nJune 16, 2024, 1–3 p.m. at the \u003ca href=\"https://roxie.com/film/kuchar-esque/\">Roxie Theater\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>The San Francisco Art Institute may have closed its doors, but the artists it nurtured continue to deliver their special blend of visionary weirdness to Bay Area audiences. Now, a celebration of the art school’s filmmaking stars (past and present) arrives in the form of a three-day film festival named after the on-campus studio where so many got their start. The programs includes alumni-made shorts, work by Los Angeles performer Jibz Cameron, a.k.a. Dynasty Handbag, a Juneteenth-themed slate of films and, closing it all out, a George and Mike Kuchar bonanza.\u003c/p>\n\u003cfigure id=\"attachment_13957420\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957420\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000.jpg\" alt=\"Print of two police pulled up outside a venue called The Silver Dollar with guns drawn\" width=\"2000\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-1536x985.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-1920x1231.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carlos F. Jackson, ‘August 29, 1970,’ 2016. \u003ccite>(© Carlos F. Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">Calli: The Art of Xicanx Peoples\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 14, 2024–Jan. 26, 2025\u003cbr>\nOakland Museum of California\u003c/i>\u003c/p>\n\u003cp>OMCA’s big summer show centers on Xicanx artists and themes, presenting intergenerational, feminist and queer approaches to the shifting identity of “Chicano” in the Americas. The show will open with an adobe temple installation by Los Angeles artist rafa esparza (recently featured in the SFMOMA show \u003ci>\u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">Sitting on Chrome\u003c/a>\u003c/i>), and includes work by Consuelo Jimenez Underwood, Laura Aguilar and Melanie Cervantes alongside a collection of posters from the Third World Liberation Front movement.\u003c/p>\n\u003cfigure id=\"attachment_13957417\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000.jpg\" alt=\"Black and white image of person dressed as baker interacting with a loaf of bread, projection behind\" width=\"2000\" height=\"1339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-1536x1028.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-1920x1285.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">TT Takemoto, Still from ‘Looking for Jiro,’ 2011; Single-channel digital video. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery, San Francisco; Photo by Maxwell Leung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://museum.stanford.edu/exhibitions/tt-takemoto-remembering-absence-memory\">TT Takemoto: Remembering in the Absence of Memory\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 19–Dec. 1, 2024\u003cbr>\nCantor Arts Center, Stanford\u003c/i>\u003c/p>\n\u003cp>In this small but mighty show, Bay Area artist \u003ca href=\"https://ttakemoto.com/\">TT Takemoto\u003c/a> presents art made between 2009 to 2023, a combination of videos, sculpture and works on paper that ask how we represent stories that were never documented. Looking for traces of queer Asian American experiences in archives, Takemoto blends experimental film tactics, pop music, drag king performance, craft practices and even “homoerotic baking” to imagine what life might have been like for queer and gender-nonconforming Japanese Americans before and during incarceration.\u003c/p>\n\u003cfigure id=\"attachment_13957414\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-%C2%A9-Kara-Walker-photo_-Ari-Marcopoulos_2000.jpg\" alt=\"Black person works on a sculpture of a head with their hands\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kara Walker working on ‘Fortuna and the Immortality Garden (Machine)’ in 2023. \u003ccite>(© Kara Walker; Photo by Ari Marcopoulos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-new-details-regarding-major-commission-by-kara-walker/\">Fortuna and the Immortality Garden (Machine)\u003cbr>\nA Respite for the Weary Time-Traveler.\u003cbr>\nFeaturing a Rite of Ancient Intelligence Carried out by The Gardeners\u003cbr>\nToward the Continued Improvement of the Human Specious\u003cbr>\nby\u003cbr>\nKara E-Walker\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>July 1, 2024–May 2026\u003cbr>\nSan Francisco Museum of Modern Art\u003c/i>\u003c/p>\n\u003cp>A new site-specific installation by Kara Walker is coming to SFMOMA’s Roberts Family Gallery (most recently home to Diego Rivera’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\">Pan American Unity\u003c/a>\u003c/i> mural). The “complex landscape of mechanized sculptures and elaborate displays” will be the artist’s most ambitious large-scale public project to date. That’s no small feat, considering the scale of her \u003ca href=\"https://creativetime.org/projects/karawalker/\">2014 installation\u003c/a> in Brooklyn’s Domino Sugar refinery. Walker’s SFMOMA installation includes a complex world of automatons situated within a garden of black obsidian, and has involved collaborations with an engineering company, a couturier and a fabrication studio. Given how multifaceted (and kinetic) the piece promises to be, we might be returning again and again during its nearly two year run.\u003c/p>\n\u003cfigure id=\"attachment_13957412\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix.jpg\" alt=\"Painting of a cell block with collaged images in windows\" width=\"2000\" height=\"1902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-1020x970.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-768x730.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-1536x1461.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-1920x1826.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keith Andrews, ‘Fishing from a Hole in a Wall,’ 2023; Acrylic on parachute cloth. \u003ccite>(Philadelphia Mural Arts at SCI Phoenix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://richmondartcenter.org/exhibitions/the-view-from-here/\">The View from Here\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>July 3–Aug. 17, 2024\u003cbr>\nRichmond Art Center\u003c/i>\u003c/p>\n\u003cp>Over the past year, incarcerated artists at San Quentin and Philadelphia’s State Correctional Institution (SCI) Phoenix have exchanged letters — but not through ordinary means. Using their arts programs (the William James Foundation and Philadelphia Mural Arts) as intermediaries, letters were scanned, emailed and printed out to facilitate a creative exchange. The results in this group show includes both imagined and literal views (of daily prison life, of a landscape seen through bars), alongside some of those letters. Art can transport us to other places and into others’ experiences, the show argues, but that is true for both the makers and viewers of that work.\u003c/p>\n\u003cfigure id=\"attachment_13957413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-scaled.jpg\" alt=\"Person sitting amid large-scale figurative ceramic sculptures \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Green among her sculptures. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Nicki Green: Firmament’\u003c/h2>\n\u003cp>\u003ci>Aug. 9, 2024–Feb. 2, 2025\u003cbr>\n\u003ca href=\"https://thecjm.org/\">Contemporary Jewish Museum\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>San Francisco expat Nicki Green returns for her first solo museum exhibition. When I \u003ca href=\"https://www.kqed.org/arts/13871844/the-best-art-i-saw-in-2019\">last wrote\u003c/a> about Green’s work in 2019, her clay sculptures boasted delicately painted patterns and images — of Jewish symbols, mushrooms and bathing figures. More recently, Green has brought those figures into three-dimensional space, where they become compelling, larger-than-life presences within art spaces. This exhibition gathers artwork created over the past several years along with new pieces made for the show, exploring the idea of a space between heaven and earthly domains.\u003c/p>\n\u003cfigure id=\"attachment_13957419\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957419\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent.jpg\" alt=\"Print with overlapping text and blocks of red and green\" width=\"1600\" height=\"1046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent-1536x1004.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Sister Corita Kent, ‘with love to the everyday miracle,’ 1967; Serigraph, 23 x 35 inches. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://bampfa.org/program/exalt-ephemeral-impermanent-collection\">To Exalt the Ephemeral: The (Im)permanent Collection\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Aug. 14, 2024–July 6, 2025\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Through a combination of art and film from the museum’s holdings, this semi-meta exhibition gets into the tricky business of collecting, caring for and exhibiting the work of artists who embrace a conservator’s greatest nemesis: entropy and decay. And though it may sound a bit wonky, this premise means we’ll be getting to see things that don’t often get seen — because of their fragility, or their organic or non-archival mediums. The artist list for this exhibition is reason alone to mark it on your calendars. Among them are James Lee Byars, Sarah Charlesworth, Felix Gonzalez-Torres, Rosie Lee Tompkins and Martin Wong.\u003c/p>\n\n","blocks":[],"excerpt":"Fill your summer with great gallery shows, big museum exhibitions and local artists getting their due.","status":"publish","parent":0,"modified":1715724999,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1397},"headData":{"title":"Your Guide to This Summer’s Not-To-Miss Visual Art | KQED","description":"Fill your summer with great gallery shows, big museum exhibitions and local artists getting their due.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Guide to This Summer’s Not-To-Miss Visual Art","datePublished":"2024-05-13T16:00:33.000Z","dateModified":"2024-05-14T22:16:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"nprStoryId":"kqed-13957410","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957410/visual-art-guide-summer-2024-galleries-museums","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year, it’s a struggle to whittle this list down to a select few. There’s simply \u003ca href=\"https://docs.google.com/document/d/1EPuQY0pmQEolKP1764UwgB1sXGJw6oG72_rZL4D9nhk/edit#\">so much happening\u003c/a> in art spaces across the Bay Area. For 2024, I’ve plotted out an ideal summer, full of inventive gallery shows, exciting museum exhibitions and local artists getting the attention they deserve, all in venues spread across the region.\u003c/p>\n\u003cfigure id=\"attachment_13957411\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958.jpg\" alt=\"Black and white photograph of projected film of made-up monster face\" width=\"2000\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FG-01_Fraenkenstein_Arbus_Frankensteins-Daughter-close-up-with-shoulders-1958-1920x1330.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diane Arbus, ‘Frankenstein’s Daughter [close up with shoulders],’ 1958. \u003ccite>(© The Estate of Diane Arbus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://fraenkelgallery.com/exhibitions/fraenkenstein\">Fraenkenstein\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 30–Aug. 10, 2024\u003cbr>\nFraenkel Gallery, San Francisco\u003c/i>\u003c/p>\n\u003cp>Over 200 years after it was published, Mary Shelley’s \u003ci>Frankenstein\u003c/i> continues to genuinely thrill. The novel is gothic horror at its finest: a dark, visceral critique of relentless progress that also has sympathy for the unnamed “monster” at its center. Now, Fraenkel Gallery founder Jeffrey Fraenkel and curator and writer Jordan Stein have organized an “entirely improper and radically incomplete” show in response to the book, mounted through photographs, collage, sculpture, painting and film. Given Fraenkel and Stein’s last collaboration (the 2019 Cushion Works show \u003ci>\u003ca href=\"https://www.kqed.org/arts/13853272/fries-with-that-serves-up-darkly-humorous-photo-show-with-a-side-of-ketchup\">Fries With That…?\u003c/a>\u003c/i>) we can hope for plenty of deep cuts from the gallery’s impressive roster, canny sequencing and a hearty dose of play.\u003c/p>\n\u003cfigure id=\"attachment_13957416\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957416\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000.jpg\" alt=\"Abstract painting of diffuse, blurry dots with bright colors of pink, teal and yellow\" width=\"2000\" height=\"2499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-1020x1274.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-1639x2048.jpg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/sd_pink_orange-copy_2000-1920x2399.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soleé Darrell, ‘Where have you been?’ 2024; Dye on silk velvet, 52 x 39 inches. \u003ccite>(Courtesy pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Soleé Darrell, ‘\u003ca href=\"https://www.part2gallery.com/blog/pressrelease/whereyou\">Where You Need To Be: Teleportation Studies\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 1–July 13, 2024\u003cbr>\npt.2 Gallery, Oakland\u003c/i>\u003c/p>\n\u003cp>In her latest series, \u003ca href=\"https://soleedarrell.art/\">Soleé Darrell\u003c/a> paints large-scale, washy abstractions on the curious material of silk velvet. That fuzzy, glamorous fabric has an inherent texture and sheen, but the Bay Area artist’s expressionistic application of rich jewel tones and fluorescent pinks hold their own. Part liquid light show, part psychedelic tie-dye, her paintings hint at patterns, only to diffuse out into streams and rivulets of pure color.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As an added treat, Christopher Robin Duncan (an artist whose work regularly lists the medium of “time”) opens \u003ci>\u003ca href=\"https://www.part2gallery.com/blog/pressrelease/thespace\">The Space Between Years\u003c/a>\u003c/i> at pt.2 at the same time — two cosmic, mind-expanding shows for the price of one gallery visit.\u003c/p>\n\u003cfigure id=\"attachment_13957415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957415\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill.jpg\" alt=\"Person with animal puppet on shoulder looks at computer in messy room\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2019GarbageCastle_Cameron_VideoStill-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Dirt Castle’ by Jibz Cameron a.k.a. Dynasty Handbag. \u003ccite>(Courtesy the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfartistsalumni.org/studio8filmfestival\">Studio 8 Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 14, 2024, 7–10 p.m. at \u003ca href=\"https://shop.shapeshifterscinema.com/product/studio-8-film-festival-opening-night-shorts-program/380\">Shapeshifters Cinema\u003c/a>, Oakland\u003cbr>\nJune 15, 2024, starting at 6 p.m. at the \u003ca href=\"https://www.balboamovies.com/calendar-of-events/san-francisco-artists-alumnis-studio-8-film-festival-angela-davis-walls-into-bridges-600-pm\">Balboa Theater\u003c/a>, San Francisco\u003cbr>\nJune 16, 2024, 1–3 p.m. at the \u003ca href=\"https://roxie.com/film/kuchar-esque/\">Roxie Theater\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>The San Francisco Art Institute may have closed its doors, but the artists it nurtured continue to deliver their special blend of visionary weirdness to Bay Area audiences. Now, a celebration of the art school’s filmmaking stars (past and present) arrives in the form of a three-day film festival named after the on-campus studio where so many got their start. The programs includes alumni-made shorts, work by Los Angeles performer Jibz Cameron, a.k.a. Dynasty Handbag, a Juneteenth-themed slate of films and, closing it all out, a George and Mike Kuchar bonanza.\u003c/p>\n\u003cfigure id=\"attachment_13957420\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957420\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000.jpg\" alt=\"Print of two police pulled up outside a venue called The Silver Dollar with guns drawn\" width=\"2000\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-1536x985.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/August-29-1970_Carlos-Jackson_2000-1920x1231.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carlos F. Jackson, ‘August 29, 1970,’ 2016. \u003ccite>(© Carlos F. Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">Calli: The Art of Xicanx Peoples\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 14, 2024–Jan. 26, 2025\u003cbr>\nOakland Museum of California\u003c/i>\u003c/p>\n\u003cp>OMCA’s big summer show centers on Xicanx artists and themes, presenting intergenerational, feminist and queer approaches to the shifting identity of “Chicano” in the Americas. The show will open with an adobe temple installation by Los Angeles artist rafa esparza (recently featured in the SFMOMA show \u003ci>\u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">Sitting on Chrome\u003c/a>\u003c/i>), and includes work by Consuelo Jimenez Underwood, Laura Aguilar and Melanie Cervantes alongside a collection of posters from the Third World Liberation Front movement.\u003c/p>\n\u003cfigure id=\"attachment_13957417\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000.jpg\" alt=\"Black and white image of person dressed as baker interacting with a loaf of bread, projection behind\" width=\"2000\" height=\"1339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-1536x1028.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Hero-Image-LookingforJiroPhotoByMaxwellLeung3_2000-1920x1285.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">TT Takemoto, Still from ‘Looking for Jiro,’ 2011; Single-channel digital video. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery, San Francisco; Photo by Maxwell Leung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://museum.stanford.edu/exhibitions/tt-takemoto-remembering-absence-memory\">TT Takemoto: Remembering in the Absence of Memory\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 19–Dec. 1, 2024\u003cbr>\nCantor Arts Center, Stanford\u003c/i>\u003c/p>\n\u003cp>In this small but mighty show, Bay Area artist \u003ca href=\"https://ttakemoto.com/\">TT Takemoto\u003c/a> presents art made between 2009 to 2023, a combination of videos, sculpture and works on paper that ask how we represent stories that were never documented. Looking for traces of queer Asian American experiences in archives, Takemoto blends experimental film tactics, pop music, drag king performance, craft practices and even “homoerotic baking” to imagine what life might have been like for queer and gender-nonconforming Japanese Americans before and during incarceration.\u003c/p>\n\u003cfigure id=\"attachment_13957414\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-%C2%A9-Kara-Walker-photo_-Ari-Marcopoulos_2000.jpg\" alt=\"Black person works on a sculpture of a head with their hands\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/4.Kara-Walker-Fortuna-and-the-Immortality-Garden-Machine-work-in-progress-2023-2024-©-Kara-Walker-photo_-Ari-Marcopoulos_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kara Walker working on ‘Fortuna and the Immortality Garden (Machine)’ in 2023. \u003ccite>(© Kara Walker; Photo by Ari Marcopoulos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-new-details-regarding-major-commission-by-kara-walker/\">Fortuna and the Immortality Garden (Machine)\u003cbr>\nA Respite for the Weary Time-Traveler.\u003cbr>\nFeaturing a Rite of Ancient Intelligence Carried out by The Gardeners\u003cbr>\nToward the Continued Improvement of the Human Specious\u003cbr>\nby\u003cbr>\nKara E-Walker\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>July 1, 2024–May 2026\u003cbr>\nSan Francisco Museum of Modern Art\u003c/i>\u003c/p>\n\u003cp>A new site-specific installation by Kara Walker is coming to SFMOMA’s Roberts Family Gallery (most recently home to Diego Rivera’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\">Pan American Unity\u003c/a>\u003c/i> mural). The “complex landscape of mechanized sculptures and elaborate displays” will be the artist’s most ambitious large-scale public project to date. That’s no small feat, considering the scale of her \u003ca href=\"https://creativetime.org/projects/karawalker/\">2014 installation\u003c/a> in Brooklyn’s Domino Sugar refinery. Walker’s SFMOMA installation includes a complex world of automatons situated within a garden of black obsidian, and has involved collaborations with an engineering company, a couturier and a fabrication studio. Given how multifaceted (and kinetic) the piece promises to be, we might be returning again and again during its nearly two year run.\u003c/p>\n\u003cfigure id=\"attachment_13957412\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix.jpg\" alt=\"Painting of a cell block with collaged images in windows\" width=\"2000\" height=\"1902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-1020x970.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-768x730.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-1536x1461.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fishing-from-a-Hole-in-a-Wall-SCI-Phoenix-1920x1826.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keith Andrews, ‘Fishing from a Hole in a Wall,’ 2023; Acrylic on parachute cloth. \u003ccite>(Philadelphia Mural Arts at SCI Phoenix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://richmondartcenter.org/exhibitions/the-view-from-here/\">The View from Here\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>July 3–Aug. 17, 2024\u003cbr>\nRichmond Art Center\u003c/i>\u003c/p>\n\u003cp>Over the past year, incarcerated artists at San Quentin and Philadelphia’s State Correctional Institution (SCI) Phoenix have exchanged letters — but not through ordinary means. Using their arts programs (the William James Foundation and Philadelphia Mural Arts) as intermediaries, letters were scanned, emailed and printed out to facilitate a creative exchange. The results in this group show includes both imagined and literal views (of daily prison life, of a landscape seen through bars), alongside some of those letters. Art can transport us to other places and into others’ experiences, the show argues, but that is true for both the makers and viewers of that work.\u003c/p>\n\u003cfigure id=\"attachment_13957413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-scaled.jpg\" alt=\"Person sitting amid large-scale figurative ceramic sculptures \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03_Nicki_Green_2000-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Green among her sculptures. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Nicki Green: Firmament’\u003c/h2>\n\u003cp>\u003ci>Aug. 9, 2024–Feb. 2, 2025\u003cbr>\n\u003ca href=\"https://thecjm.org/\">Contemporary Jewish Museum\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>San Francisco expat Nicki Green returns for her first solo museum exhibition. When I \u003ca href=\"https://www.kqed.org/arts/13871844/the-best-art-i-saw-in-2019\">last wrote\u003c/a> about Green’s work in 2019, her clay sculptures boasted delicately painted patterns and images — of Jewish symbols, mushrooms and bathing figures. More recently, Green has brought those figures into three-dimensional space, where they become compelling, larger-than-life presences within art spaces. This exhibition gathers artwork created over the past several years along with new pieces made for the show, exploring the idea of a space between heaven and earthly domains.\u003c/p>\n\u003cfigure id=\"attachment_13957419\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957419\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent.jpg\" alt=\"Print with overlapping text and blocks of red and green\" width=\"1600\" height=\"1046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/CoritaKent-1536x1004.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Sister Corita Kent, ‘with love to the everyday miracle,’ 1967; Serigraph, 23 x 35 inches. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://bampfa.org/program/exalt-ephemeral-impermanent-collection\">To Exalt the Ephemeral: The (Im)permanent Collection\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Aug. 14, 2024–July 6, 2025\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through a combination of art and film from the museum’s holdings, this semi-meta exhibition gets into the tricky business of collecting, caring for and exhibiting the work of artists who embrace a conservator’s greatest nemesis: entropy and decay. And though it may sound a bit wonky, this premise means we’ll be getting to see things that don’t often get seen — because of their fragility, or their organic or non-archival mediums. The artist list for this exhibition is reason alone to mark it on your calendars. Among them are James Lee Byars, Sarah Charlesworth, Felix Gonzalez-Torres, Rosie Lee Tompkins and Martin Wong.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957410/visual-art-guide-summer-2024-galleries-museums","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_22150","arts_22140","arts_585"],"featImg":"arts_13957415","label":"source_arts_13957410"},"arts_13957599":{"type":"posts","id":"arts_13957599","meta":{"index":"posts_1591205157","site":"arts","id":"13957599","found":true},"guestAuthors":[],"slug":"late-night-thai-food-dessert-sf-ping-yang","title":"This Cozy Thai Cafe Serves Eye-Popping Desserts Until Midnight","publishDate":1715301200,"format":"aside","headTitle":"This Cozy Thai Cafe Serves Eye-Popping Desserts Until Midnight | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13957597\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang.jpg\" alt=\"Illustration: Two men eat noodles and Thai desserts with an animalistic fervor.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The charms of Ping Yang Thai Grill & Dessert are at least twofold: homey Thai noodles and rice dishes, and over-the-top Asian desserts. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>One of the most charming restaurants I’ve been to in San Francisco is a little Thai cafe that sits on a relatively unobtrusive street corner in Lower Nob Hill, stays open until midnight every night, and serves a menu that’s equal parts impeccable Thai home cooking and gloriously over-the-top desserts.\u003c/p>\n\u003cp>And that’s only the beginning of the pleasures that \u003ca href=\"https://www.pingyangthaigrilldessert.com/\">Ping Yang Thai Grill & Dessert\u003c/a> has to offer.\u003c/p>\n\u003cp>The restaurant has a cozy, lived-in quality. The walls are lined with succulents, climbing vine plants and other assorted greenery. The steady stream of guitar-driven Thai pop-rock that plays over the speakers was catchy enough to get my head bopping. A small bookshelf is stocked with the same mix of slightly random reading material you might find in a friend’s living room: \u003ci>Harry Potter\u003c/i>, \u003ci>The Catcher in the Rye\u003c/i>, some test prep workbooks, the Thai translation of the \u003ci>Detective Conan\u003c/i> manga.\u003c/p>\n\u003cp>The menu, too, is optimized with an eye toward homey comfort. Which isn’t to say that the cooking is uninteresting or unambitious. In fact, Ping Yang serves a whole slew of dishes that I rarely see at other Thai restaurants in the Bay Area, like fried silkworms and mok pla — a Lao dish that consists of catfish steamed inside a banana leaf. This is, after all, the kind of Thai restaurant that has a specials board handwritten in Thai, with no translation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ping Yang also serves one of the most ubiquitous home-cooked Thai dishes that you’ll only occasionally find at a restaurant: a Thai omelet. This is one of my all-time favorite egg dishes (which, coming from an egg-obsessed person, says a lot) — essentially just egg and fish sauce, whisked together and fried quickly in a hot wok until it’s puffed up and golden-brown. Served over a plate of hot jasmine rice, Ping Yang’s herb-flecked version is simple and supremely comforting, especially when doctored with a few dabs of Sriracha. Left to my own devices, I would happily eat this twice a week.\u003c/p>\n\u003cp>In a similar comfort food vein: the restaurant’s pad see ew, which, by contrast, is a dish you can find at practically every Thai restaurant in the U.S. But I was enamored with Ping Yang’s homey, oil-slicked version of the dish, which was loaded with vegetables and full of umami without being overly salty. It didn’t hurt that I ordered the version with pork jowl, a luxurious, underrated cut that gives you a little of the fattiness of the belly with a nice, crisp, cartilaginous chew. After applying a few liberal drops of prik nam som (chili vinegar) from the condiment caddy, we inhaled this dish in a matter of minutes.\u003c/p>\n\u003cp>Again, this is restaurant-quality food cooked with light enough a touch that I could easily imagine myself eating here multiple times a week if I lived in the neighborhood — especially with so much of the menu left to explore, and many of the dishes priced at $15 or less.\u003c/p>\n\u003cfigure id=\"attachment_13957596\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2.jpg\" alt='Illustration: Exterior of a restaurant at nighttime — the sign reads \"Ping Yang.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located in Lower Nob Hill, the restaurant is open until midnight every night. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Truth be told, I would come even if the food were only half as good, because the vibe at Ping Yang is just so pleasant, welcoming and chill. Half the people who came in during our visit seemed to be regulars or personal friends of the owners, and no one seemed to be in any particular rush. At around 10 o’clock on a Thursday night, a couple of thirtysomething Thai dudes had their laptops out, sipping cold Thai lagers while they worked on a project. Others came in after dinner elsewhere just to share a dessert.\u003c/p>\n\u003cp>The service, meanwhile, was friendly without being overly familiar. I especially appreciated the conviction with which our server delivered her recommendations when we asked for them. “The pad see ew is my favorite,” she said without a moment’s hesitation when we asked about the noodle dishes. And later, when it was time for dessert, she once again spoke, with absolute certainty, in favor of the watermelon bing soo.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13954983,arts_13953702,arts_13952823']\u003c/span>\u003c/span>Ah yes, dessert. Can I speak for a moment on how dispiriting I have found it, personally, that there aren’t more dessert shops in the Bay Area open past, say, 9 o’clock? The struggle is real, and if you’ve felt it too, I am here to tell you that Ping Yang is the solution to your woes: It serves a vast Thai and pan-Asian dessert menu until midnight every night. In contrast to the homey, simple quality of the savory foods, the desserts are elaborate and over-the-top in a way that feels made for Instagram — but \u003ci>also \u003c/i>entirely delicious.\u003c/p>\n\u003cp>There are Hong Kong–style toast boxes filled to overflowing with ube ice cream, whipped cream and all manner of fresh fruits. There are variations on the Thai-style dessert rotis that are wildly popular at night markets all across Asia. The banana roti we tried was a deconstructed version — crispy roti wedges piled on a plate and topped with whipped cream, chocolate sauce and condensed milk, with a stack of banana slices arranged neatly on the side. You assemble each perfect bite yourself.\u003c/p>\n\u003cp>As for that watermelon bing soo? It was fully half of a small, sweet watermelon, served with the carved-out balls of its flesh piled high inside the rind itself. Layered inside was the bing soo, or shaved ice, itself — mixed with condensed milk and shaved so finely that for the first several bites I was convinced it was ice cream.\u003c/p>\n\u003cp>Let’s just say the recommendation didn’t miss: This was the tastiest, most refreshing dessert I’d eaten in months.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/pingyangsf/\">\u003ci>Ping Yang Grill & Dessert\u003c/i>\u003c/a>\u003ci> is open Monday through Saturday from noon–3 p.m. and 5 p.m.–midnight, and Sunday 5 p.m.–midnight at 955 Larkin St. in San Francisco.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Ping Yang Thai Grill & Dessert is a late-night comfort food oasis in SF.","status":"publish","parent":0,"modified":1715451296,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1116},"headData":{"title":"This Late-Night Thai Restaurant in SF Serves Dessert Until Midnight | KQED","description":"Ping Yang Thai Grill & Dessert is a late-night comfort food oasis in SF.","ogTitle":"This Cozy Thai Cafe Serves Eye-Popping Desserts Until Midnight","ogDescription":"","ogImgId":"","twTitle":"This Cozy Thai Cafe Serves Eye-Popping Desserts Until Midnight","twDescription":"","twImgId":"","socialTitle":"This Late-Night Thai Restaurant in SF Serves Dessert Until Midnight %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Cozy Thai Cafe Serves Eye-Popping Desserts Until Midnight","datePublished":"2024-05-10T00:33:20.000Z","dateModified":"2024-05-11T18:14:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"nprStoryId":"kqed-13957599","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957599/late-night-thai-food-dessert-sf-ping-yang","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957597\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang.jpg\" alt=\"Illustration: Two men eat noodles and Thai desserts with an animalistic fervor.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ping-Yang-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The charms of Ping Yang Thai Grill & Dessert are at least twofold: homey Thai noodles and rice dishes, and over-the-top Asian desserts. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>One of the most charming restaurants I’ve been to in San Francisco is a little Thai cafe that sits on a relatively unobtrusive street corner in Lower Nob Hill, stays open until midnight every night, and serves a menu that’s equal parts impeccable Thai home cooking and gloriously over-the-top desserts.\u003c/p>\n\u003cp>And that’s only the beginning of the pleasures that \u003ca href=\"https://www.pingyangthaigrilldessert.com/\">Ping Yang Thai Grill & Dessert\u003c/a> has to offer.\u003c/p>\n\u003cp>The restaurant has a cozy, lived-in quality. The walls are lined with succulents, climbing vine plants and other assorted greenery. The steady stream of guitar-driven Thai pop-rock that plays over the speakers was catchy enough to get my head bopping. A small bookshelf is stocked with the same mix of slightly random reading material you might find in a friend’s living room: \u003ci>Harry Potter\u003c/i>, \u003ci>The Catcher in the Rye\u003c/i>, some test prep workbooks, the Thai translation of the \u003ci>Detective Conan\u003c/i> manga.\u003c/p>\n\u003cp>The menu, too, is optimized with an eye toward homey comfort. Which isn’t to say that the cooking is uninteresting or unambitious. In fact, Ping Yang serves a whole slew of dishes that I rarely see at other Thai restaurants in the Bay Area, like fried silkworms and mok pla — a Lao dish that consists of catfish steamed inside a banana leaf. This is, after all, the kind of Thai restaurant that has a specials board handwritten in Thai, with no translation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ping Yang also serves one of the most ubiquitous home-cooked Thai dishes that you’ll only occasionally find at a restaurant: a Thai omelet. This is one of my all-time favorite egg dishes (which, coming from an egg-obsessed person, says a lot) — essentially just egg and fish sauce, whisked together and fried quickly in a hot wok until it’s puffed up and golden-brown. Served over a plate of hot jasmine rice, Ping Yang’s herb-flecked version is simple and supremely comforting, especially when doctored with a few dabs of Sriracha. Left to my own devices, I would happily eat this twice a week.\u003c/p>\n\u003cp>In a similar comfort food vein: the restaurant’s pad see ew, which, by contrast, is a dish you can find at practically every Thai restaurant in the U.S. But I was enamored with Ping Yang’s homey, oil-slicked version of the dish, which was loaded with vegetables and full of umami without being overly salty. It didn’t hurt that I ordered the version with pork jowl, a luxurious, underrated cut that gives you a little of the fattiness of the belly with a nice, crisp, cartilaginous chew. After applying a few liberal drops of prik nam som (chili vinegar) from the condiment caddy, we inhaled this dish in a matter of minutes.\u003c/p>\n\u003cp>Again, this is restaurant-quality food cooked with light enough a touch that I could easily imagine myself eating here multiple times a week if I lived in the neighborhood — especially with so much of the menu left to explore, and many of the dishes priced at $15 or less.\u003c/p>\n\u003cfigure id=\"attachment_13957596\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2.jpg\" alt='Illustration: Exterior of a restaurant at nighttime — the sign reads \"Ping Yang.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/pin-yang-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located in Lower Nob Hill, the restaurant is open until midnight every night. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Truth be told, I would come even if the food were only half as good, because the vibe at Ping Yang is just so pleasant, welcoming and chill. Half the people who came in during our visit seemed to be regulars or personal friends of the owners, and no one seemed to be in any particular rush. At around 10 o’clock on a Thursday night, a couple of thirtysomething Thai dudes had their laptops out, sipping cold Thai lagers while they worked on a project. Others came in after dinner elsewhere just to share a dessert.\u003c/p>\n\u003cp>The service, meanwhile, was friendly without being overly familiar. I especially appreciated the conviction with which our server delivered her recommendations when we asked for them. “The pad see ew is my favorite,” she said without a moment’s hesitation when we asked about the noodle dishes. And later, when it was time for dessert, she once again spoke, with absolute certainty, in favor of the watermelon bing soo.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954983,arts_13953702,arts_13952823","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Ah yes, dessert. Can I speak for a moment on how dispiriting I have found it, personally, that there aren’t more dessert shops in the Bay Area open past, say, 9 o’clock? The struggle is real, and if you’ve felt it too, I am here to tell you that Ping Yang is the solution to your woes: It serves a vast Thai and pan-Asian dessert menu until midnight every night. In contrast to the homey, simple quality of the savory foods, the desserts are elaborate and over-the-top in a way that feels made for Instagram — but \u003ci>also \u003c/i>entirely delicious.\u003c/p>\n\u003cp>There are Hong Kong–style toast boxes filled to overflowing with ube ice cream, whipped cream and all manner of fresh fruits. There are variations on the Thai-style dessert rotis that are wildly popular at night markets all across Asia. The banana roti we tried was a deconstructed version — crispy roti wedges piled on a plate and topped with whipped cream, chocolate sauce and condensed milk, with a stack of banana slices arranged neatly on the side. You assemble each perfect bite yourself.\u003c/p>\n\u003cp>As for that watermelon bing soo? It was fully half of a small, sweet watermelon, served with the carved-out balls of its flesh piled high inside the rind itself. Layered inside was the bing soo, or shaved ice, itself — mixed with condensed milk and shaved so finely that for the first several bites I was convinced it was ice cream.\u003c/p>\n\u003cp>Let’s just say the recommendation didn’t miss: This was the tastiest, most refreshing dessert I’d eaten in months.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/pingyangsf/\">\u003ci>Ping Yang Grill & Dessert\u003c/i>\u003c/a>\u003ci> is open Monday through Saturday from noon–3 p.m. and 5 p.m.–midnight, and Sunday 5 p.m.–midnight at 955 Larkin St. in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957599/late-night-thai-food-dessert-sf-ping-yang","authors":["11743","11753"],"categories":["arts_1","arts_12276"],"tags":["arts_22144","arts_10278","arts_1297","arts_8805","arts_1146","arts_21928"],"featImg":"arts_13957595","label":"source_arts_13957599"},"arts_13957305":{"type":"posts","id":"arts_13957305","meta":{"index":"posts_1591205157","site":"arts","id":"13957305","found":true},"guestAuthors":[],"slug":"taiwanese-food-taiwanese-american-cultural-festival-san-francisco-union-square-2024","title":"This Year’s Taiwanese American Culture Fest Will Be Bigger Than Ever","publishDate":1715037453,"format":"standard","headTitle":"This Year’s Taiwanese American Culture Fest Will Be Bigger Than Ever | KQED","labelTerm":{},"content":"\u003cp>Once a year, the \u003ca href=\"https://www.kqed.org/arts/13929007/taiwanese-american-culture-festival-union-square-sf\">West Coast’s biggest Taiwanese American cultural celebration\u003c/a> takes over Union Square for a day of lion dance performances, acrobatics, live music, local art and, of course, a whole lot of delicious food. We’re talking beef noodle soup with hand-pulled noodles. Silky, sweet tofu pudding. Night market–style candied fruit skewers.\u003c/p>\n\u003cp>With all the discourse around \u003ca href=\"https://www.kqed.org/arts/13939383/downtown-san-francisco-doom-spiral-sucka-flea-market-holiday-spirit\">downtown San Francisco’s restaurant and retail apocalypse\u003c/a>, maybe \u003ci>this \u003c/i>is precisely what Union Square needs to bring some life to the neighborhood.\u003c/p>\n\u003cp>At least, that’s what Alan Ma, a co-director of this year’s \u003ca href=\"https://www.tap-sf.org/tacf\">Taiwanese American Cultural Festival\u003c/a>, is hoping. Organized by the Bay Area chapter of the nonprofit \u003ca href=\"https://tacl.org/tap1/\">Taiwanese American Professionals\u003c/a> (TAP), the festival kicks off its 31st annual edition — minus a couple years’ hiatus during the height of the pandemic — on Saturday, May 11.\u003c/p>\n\u003cp>Unlike some previous incarnations of the festival, this year’s version won’t have a specific theme. Instead, Ma explains, the focus will just be on “revitalizing traffic or noise in San Francisco, given a lot of news of people leaving.”\u003c/p>\n\u003cp>“I just want to bring back what is still here, what is still alive in San Francisco,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13957310\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39.jpg\" alt=\"Women in nostalgic period costumes perform a choreographed Chinese yo-yo dance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A choreographed Chinese yo-yo performance at last year’s festival. \u003ccite>(Peter Chu, courtesy of Taiwanese American Cultural Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of how Ma and his fellow organizers hope to generate that sense of excitement is by offering the widest variety of Taiwanese foods and beverages in the festival’s history. In recent years, the only hot food options came from the tent operated by \u003ca href=\"https://www.liangsvillage.com/\">Liang’s Village\u003c/a>, a longtime \u003ca href=\"https://www.kqed.org/arts/13897684/pandemic-taiwanese-food-liangs-village\">South Bay mainstay\u003c/a>. But as tasty as Liang’s is — and the restaurant will once again be on hand this year to sling hand-pulled beef noodle soup, lu rou fan and other classic Taiwanese dishes — there’s no way for a single vendor to capture all of the depth, breadth and overall vibrancy of the cuisine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So this year Ma is pulling in a number of other big names from the local Taiwanese food scene, including the soy milk shop \u003ca href=\"https://www.facebook.com/US.Soypresso\">US Soypresso\u003c/a>, shaved snow specialist \u003ca href=\"https://www.powdershavedsnow.com/about-us\">Powder\u003c/a> and \u003ca href=\"https://www.duanchunzhen-us.com/ca/?\">Duan Chun Zhen\u003c/a> (another beef noodle soup specialist, though it’ll be serving pork belly noodle soup and a selection of lu wei, or braised items, at the festival).\u003c/p>\n\u003cfigure id=\"attachment_13957311\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice.jpg\" alt=\"A bowl of egg fried rice topped with fried chop.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Duan Chun Zhen will have a booth at this year’s festival. Pictured here is the Cupertino restaurant’s fried rice with pork chop. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more striking, though, is the number of smaller Taiwanese pop-ups and homegrown food businesses — which are the backbone of the Bay Area’s \u003ca href=\"https://www.kqed.org/arts/13897272/bay-area-taiwanese-food-scene-nostalgia\">recent Taiwanese food renaissance\u003c/a> — that will be joining the festival this year.\u003c/p>\n\u003cp>A few of the notable participants: \u003ca href=\"https://www.instagram.com/oramasamadumplings/?hl=en\">Oramasama Dumpling\u003c/a> will be selling the Taiwanese-style steamed rice cakes known as \u003ca href=\"https://www.instagram.com/p/C3Ere34rC5t/\">kueh\u003c/a>. Cinnamon roll pop-up sensation \u003ca href=\"https://www.instagram.com/astrandabakery/?hl=en\">Astranda Bakery\u003c/a> will offer sweet potato rolls and laminated milk bread. \u003ca href=\"https://www.instagram.com/jessicalittlefu/?hl=en\">Jessica Little Fu\u003c/a> will peddle the aforementioned tofu pudding. And \u003ca href=\"https://mitkcatering.com/\">Maxine’s Kitchen\u003c/a>, the Hayward-based cult favorite bento caterer, will be slinging some of the most nostalgic food items: the so-called “rice burritos” known as \u003ca href=\"https://www.kqed.org/arts/13897868/taiwanese-breakfast-bay-area\">fan tuan\u003c/a>, and “\u003ca href=\"https://en.wikipedia.org/wiki/Small_sausage_in_large_sausage\">little sausage wrapped inside a big sausage\u003c/a>,” a staple of every Taiwanese night market.\u003c/p>\n\u003cfigure id=\"attachment_13957319\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook.jpg\" alt=\"A red pork chop bento wit corn and egg.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the Taiwanese-style bentos from Maxine’s Kitchen \u003ccite>(Courtesy of Maxine's Kitchen / Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13897936,arts_13956218,arts_13897868']According to Ma, most — but not all — of the vendors are Taiwanese Americans themselves. And in some cases, like the craft chocolate company \u003ca href=\"https://www.formosachocolates.com/\">Formosa Chocolates\u003c/a>, the Taiwanese American makers might not specialize in overtly Taiwanese foods. Taken all together, though, the festival should capture a fairly broad snapshot of the Bay Area’s current Taiwanese food scene.\u003c/p>\n\u003cp>The hope, Ma says, is that by having so many more food vendors, it’ll help mitigate some of the long lines that visitors may have experienced at last year’s festival. Even more important, though, is the way it will help promote a broader appreciation for Taiwanese food culture in the heart of downtown San Francisco.\u003c/p>\n\u003cp>“There are definitely more and more of these lesser-known and more hole-in-the-wall places that we want to showcase and give them a spotlight to the greater community of San Francisco,” Ma says.\u003c/p>\n\u003cfigure id=\"attachment_13957321\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27.jpg\" alt=\"Bags of Taiwanese dried fruit snacks for sale.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A booth selling Taiwanese-style dried fruit snacks at last year’s festival. \u003ccite>(Julia Yu, courtesy of Taiwanese American Cultural Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.tap-sf.org/tacf\">\u003ci>Taiwanese American Cultural Festival\u003c/i>\u003c/a>\u003ci> will take place on Saturday, May 11, from 10 a.m.–4 p.m. at Union Square in San Francisco. Admission is free.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"More than a dozen Taiwanese food vendors will set up in Union Square for the day.","status":"publish","parent":0,"modified":1715038154,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":805},"headData":{"title":"This Year’s Taiwanese American Culture Fest Will Be Bigger Than Ever | KQED","description":"More than a dozen Taiwanese food vendors will set up in Union Square for the day.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Year’s Taiwanese American Culture Fest Will Be Bigger Than Ever","datePublished":"2024-05-06T23:17:33.000Z","dateModified":"2024-05-06T23:29:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13957305","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957305/taiwanese-food-taiwanese-american-cultural-festival-san-francisco-union-square-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once a year, the \u003ca href=\"https://www.kqed.org/arts/13929007/taiwanese-american-culture-festival-union-square-sf\">West Coast’s biggest Taiwanese American cultural celebration\u003c/a> takes over Union Square for a day of lion dance performances, acrobatics, live music, local art and, of course, a whole lot of delicious food. We’re talking beef noodle soup with hand-pulled noodles. Silky, sweet tofu pudding. Night market–style candied fruit skewers.\u003c/p>\n\u003cp>With all the discourse around \u003ca href=\"https://www.kqed.org/arts/13939383/downtown-san-francisco-doom-spiral-sucka-flea-market-holiday-spirit\">downtown San Francisco’s restaurant and retail apocalypse\u003c/a>, maybe \u003ci>this \u003c/i>is precisely what Union Square needs to bring some life to the neighborhood.\u003c/p>\n\u003cp>At least, that’s what Alan Ma, a co-director of this year’s \u003ca href=\"https://www.tap-sf.org/tacf\">Taiwanese American Cultural Festival\u003c/a>, is hoping. Organized by the Bay Area chapter of the nonprofit \u003ca href=\"https://tacl.org/tap1/\">Taiwanese American Professionals\u003c/a> (TAP), the festival kicks off its 31st annual edition — minus a couple years’ hiatus during the height of the pandemic — on Saturday, May 11.\u003c/p>\n\u003cp>Unlike some previous incarnations of the festival, this year’s version won’t have a specific theme. Instead, Ma explains, the focus will just be on “revitalizing traffic or noise in San Francisco, given a lot of news of people leaving.”\u003c/p>\n\u003cp>“I just want to bring back what is still here, what is still alive in San Francisco,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13957310\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39.jpg\" alt=\"Women in nostalgic period costumes perform a choreographed Chinese yo-yo dance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/yoyo_PeterChuTACF23_39-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A choreographed Chinese yo-yo performance at last year’s festival. \u003ccite>(Peter Chu, courtesy of Taiwanese American Cultural Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of how Ma and his fellow organizers hope to generate that sense of excitement is by offering the widest variety of Taiwanese foods and beverages in the festival’s history. In recent years, the only hot food options came from the tent operated by \u003ca href=\"https://www.liangsvillage.com/\">Liang’s Village\u003c/a>, a longtime \u003ca href=\"https://www.kqed.org/arts/13897684/pandemic-taiwanese-food-liangs-village\">South Bay mainstay\u003c/a>. But as tasty as Liang’s is — and the restaurant will once again be on hand this year to sling hand-pulled beef noodle soup, lu rou fan and other classic Taiwanese dishes — there’s no way for a single vendor to capture all of the depth, breadth and overall vibrancy of the cuisine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So this year Ma is pulling in a number of other big names from the local Taiwanese food scene, including the soy milk shop \u003ca href=\"https://www.facebook.com/US.Soypresso\">US Soypresso\u003c/a>, shaved snow specialist \u003ca href=\"https://www.powdershavedsnow.com/about-us\">Powder\u003c/a> and \u003ca href=\"https://www.duanchunzhen-us.com/ca/?\">Duan Chun Zhen\u003c/a> (another beef noodle soup specialist, though it’ll be serving pork belly noodle soup and a selection of lu wei, or braised items, at the festival).\u003c/p>\n\u003cfigure id=\"attachment_13957311\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice.jpg\" alt=\"A bowl of egg fried rice topped with fried chop.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/duan-chun-zhen_fried-rice-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Duan Chun Zhen will have a booth at this year’s festival. Pictured here is the Cupertino restaurant’s fried rice with pork chop. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more striking, though, is the number of smaller Taiwanese pop-ups and homegrown food businesses — which are the backbone of the Bay Area’s \u003ca href=\"https://www.kqed.org/arts/13897272/bay-area-taiwanese-food-scene-nostalgia\">recent Taiwanese food renaissance\u003c/a> — that will be joining the festival this year.\u003c/p>\n\u003cp>A few of the notable participants: \u003ca href=\"https://www.instagram.com/oramasamadumplings/?hl=en\">Oramasama Dumpling\u003c/a> will be selling the Taiwanese-style steamed rice cakes known as \u003ca href=\"https://www.instagram.com/p/C3Ere34rC5t/\">kueh\u003c/a>. Cinnamon roll pop-up sensation \u003ca href=\"https://www.instagram.com/astrandabakery/?hl=en\">Astranda Bakery\u003c/a> will offer sweet potato rolls and laminated milk bread. \u003ca href=\"https://www.instagram.com/jessicalittlefu/?hl=en\">Jessica Little Fu\u003c/a> will peddle the aforementioned tofu pudding. And \u003ca href=\"https://mitkcatering.com/\">Maxine’s Kitchen\u003c/a>, the Hayward-based cult favorite bento caterer, will be slinging some of the most nostalgic food items: the so-called “rice burritos” known as \u003ca href=\"https://www.kqed.org/arts/13897868/taiwanese-breakfast-bay-area\">fan tuan\u003c/a>, and “\u003ca href=\"https://en.wikipedia.org/wiki/Small_sausage_in_large_sausage\">little sausage wrapped inside a big sausage\u003c/a>,” a staple of every Taiwanese night market.\u003c/p>\n\u003cfigure id=\"attachment_13957319\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook.jpg\" alt=\"A red pork chop bento wit corn and egg.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/maxines-kitchen-bento_facebook-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the Taiwanese-style bentos from Maxine’s Kitchen \u003ccite>(Courtesy of Maxine's Kitchen / Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13897936,arts_13956218,arts_13897868","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>According to Ma, most — but not all — of the vendors are Taiwanese Americans themselves. And in some cases, like the craft chocolate company \u003ca href=\"https://www.formosachocolates.com/\">Formosa Chocolates\u003c/a>, the Taiwanese American makers might not specialize in overtly Taiwanese foods. Taken all together, though, the festival should capture a fairly broad snapshot of the Bay Area’s current Taiwanese food scene.\u003c/p>\n\u003cp>The hope, Ma says, is that by having so many more food vendors, it’ll help mitigate some of the long lines that visitors may have experienced at last year’s festival. Even more important, though, is the way it will help promote a broader appreciation for Taiwanese food culture in the heart of downtown San Francisco.\u003c/p>\n\u003cp>“There are definitely more and more of these lesser-known and more hole-in-the-wall places that we want to showcase and give them a spotlight to the greater community of San Francisco,” Ma says.\u003c/p>\n\u003cfigure id=\"attachment_13957321\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27.jpg\" alt=\"Bags of Taiwanese dried fruit snacks for sale.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Yun-Hai_JuliaYu_TACF2023-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A booth selling Taiwanese-style dried fruit snacks at last year’s festival. \u003ccite>(Julia Yu, courtesy of Taiwanese American Cultural Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.tap-sf.org/tacf\">\u003ci>Taiwanese American Cultural Festival\u003c/i>\u003c/a>\u003ci> will take place on Saturday, May 11, from 10 a.m.–4 p.m. at Union Square in San Francisco. Admission is free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957305/taiwanese-food-taiwanese-american-cultural-festival-san-francisco-union-square-2024","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_14125","arts_1297","arts_14398","arts_1146","arts_15151","arts_585"],"featImg":"arts_13957309","label":"source_arts_13957305"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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